As
you are no doubt aware, this is a huge work in progress and I will be
adding to this as I am able. Please be patient if you are unable to find
the artist that you want to know about. Please note that this page is
copyright and all the material on this page is copyright and can not be
used other than for your own personal research. I can not guarantee that
the information given here is 100% accurate but after a great deal of
research I will assume that it it is fairly correct and, like my
translations of individual scrolls that the
descriptions are accurate as far as I can determine.

The very best book on Japanese and the
movement from Chinese art into Japanese Art is encapsulated in the
quite wonderful book called: ON THE LAWS OF JAPANESE
PAINTING AN INTRODUCTION TO THE STUDY OF THE ART OF
JAPAN BY HENRY P BOWIE WITH PREFATORY REMARKS BY IWAYA
SAZANAMI AND HIRAI KINZA -Paul Elder and Co 1911.

Please note that original 'first
editions' are available from Tokonomascrolls.com. We have devoted some
considerable effort in locating and buying these extremely rare books
for the pleasure of our readers and customers. Later copies do not have
the depth of quality in the beautiful illustrations in this book. The
nuances of the shading are lost in later editions and the awful reprints
made some 50 years later until the present day. Once you have in your
hands a book from that first edition run in 1911 that is indeed a
delightful experience.

The information from the
original Paul Eldar Publishing company as follows: On the Laws of
Japanese Painting, by Henry P. Bowie. Preface by Iwaya Sazanami and
Hirai Kinza. Drawings by Shimada Sekko. Authors autograph edition, 100
copies, 1911. Trade edition 1911. Reprinted 1916.

The various styles of Japanese
painting include:

Haiga

Many scrolls have a descriptive text
which can be a poem. Poetry painting. This , sometimes,
abbreviated playful painting, can also have abbreviated haiku
poems. Often written by amateurs.

Kanô

This was the official government painting
style in the Edo period in Tokyo and in Kyoto. Based on the
Chinese styles from the Muromachi period. Painting in the
broken-ink technique (hoboku) and adding colour to
traditional subjects.

Kano-ha (the Kano school)
:

The Kano school is one of the most famous schools of Japanese
painting. It was founded by Kano Masanobu (1434-1530), a
contemporary of Sesshu and student of Shubun. Some scholars
write that though Masanobu mastered elements of Chinese painting
and of Shubun's style, he was overall mediocre and lacked the
originality and creativity of his teacher. Nevertheless,
Masanobu became an official painter in the Shogun's court, and
it was this lofty position which granted the Kano school
influence and fame. The artists who followed him improved upon
his style and methods, and within a generation the school
flourished.

The school's works are the paragons of Momoyama period art,
and while most schools specialize in one style, medium, or form,
the Kano school excels at two. Kano painters often worked on a
large scale, painting nature scenes of birds, plants, water, or
other animals on sliding doors or screens, covering the
background with gold leaf. Some of the most famous examples of
these can be found at the Nijo Castle in Kyoto.

The school is equally renowned, however, for its monochrome
ink-on-silk landscapes. Kano ink painters composed very flat
pictures but they balanced impeccably detailed realistic
depictions of animals and other subjects in the foreground with
abstract, often entirely blank, clouds and other background
elements. The use of negative space to indicate distance, and to
imply mist, clouds, sky or sea is drawn from traditional Chinese
modes and is used beautifully by the Kano artists. It is
interesting, perhaps, to note the very bold brush strokes and
thus bold images that are obtained in what is often a very
subtle and soft medium. It is also interesting to note the
contrast between these expertly painted monochrome ink paintings
and the almost gaudy but no less beautiful gold-on-paper forms
these artists created for walls and screens.

Kishi

A mix of Nagasaki, KanÙ
and Maruyama-ShijÙ painting styles. It is
recognised by the unique style of brush stroke.

Maruyama

Maruyama kyo, emphasizes the artists
study of and response to nature.(Shaseiga).
Okyo Maruyama
(1733 - 1795) was the founder. His grandson, Maruyama Oshin (1790-1838)
continued in the schoolFamous exponents
included Nakajima Raisho, Oda Kaisen and their student Kawabata
Gyokusho

Muromachi

This originated under the influence of the
Chinese Sung and Yang dynasty paintings brought to Japan by Zen
monks in the 14th century. Became a school of art in its own
style.

Nagasaki-e

Painting style influenced by the Chinese
(and the Dutch) at Nagasaki for export to the west.

Nanga

OrBunjinga,
a literati painting style that used the Chinese style of art as
its base and also includes painting and poetry. Yanagisawa
Kien(1706-1758).
a painter and calligrapher along with Gion Nankai and Sakaki
Hyakusen were the pioneers of Japanese literati painting

Nihonga

A 'native' Japanese style developed in the
Meiji period by teachers at the newly established academies.
Mixed traditional Japanese styles mixed with Western techniques.
Marked differences apparent between the Tokyo and Kyoto based
Nihonga artists and no more so in work from the late 19th to mid
20th century.

Rimpa

A decorative painting style.

Shijô

More closely related to the style of
Maruyama painting, but incorporates a slightly more poetic, less
restricted brush stroke and with more dynamism-

The
Shijō school (四条派,
Shijō-ha?), also
known as the
Maruyama-Shijō
school, was an
offshoot school of
the Maruyama school
of Japanese painting
founded by Maruyama
Ōkyo, and his former
student Matsumura
Goshun in the late
18th century. This
school was one of
several that made up
the larger Kyoto
school. The school
is named after the
street in Kyoto
where many major
artists were based;
Shijō literally
translates to
"fourth avenue." Its
primary patrons were
rich merchants in
and around
Kyoto/Osaka and also
appealed to the 'kamigata'
who were of the
established
aristocrat and
artisan families of
the Imperial capital
during the late
18th/19th centuries.

Stylistically, the
Shijō style can best
be described as a
synthesis of two
rival styles of the
time. Maruyama Ōkyo
was an experienced
and expert painter
of sumi-e ink
paintings, and
accomplished a great
degree of realism in
his creations,
emphasising
direct observation
of depicted subjects
which was a direct
contravention of the
officially sponsored
schools of the time,
Kanō and Tosa, which
emphasised
decorativeness with
highly
formalised
and
stylised
figures taught to
its students via
copying paintings of
past masters. The
Kanō and Tosa
schools had become
bywords for rigid
formalism by this
time. Meanwhile, a
number of artists,
rebelling against
Ōkyo's realism,
formed the nanga
(southern pictures)
school, basing their
style largely on the
Southern school of
Chinese painting.
The artists of the
Shijō school sought
to reconcile the
differences between
these two styles,
creating works that
synthesised
the best elements of
both.

The Shijo school's
style focuses on a
Western-influenced
objective realism,
but achieved with
traditional Japanese
painting techniques.
It concentrates less
on the exact
depiction of its
subject, but rather
on expressing the
'inner spirit' and
usually has an
element of
playfulness and
humour
compared to the
Maruyama school.
Popular motifs
include tranquil
landscapes, kachō
(bird and flower),
animals, and
traditional subjects
from Chinese poetic
and Confucian lore,
but there is
generally little

or no interest in
legends, history, or
classical
literature.

One of the better
known Shijō artists
in the West is Mori
Sosen, who is known
for his great number
of paintings of
monkeys. Shibata
Zeshin is also
closely associated
with the Shijō
school, though he
worked in many other
styles and mediums,
most notably lacquer
objects and lacquer
painting.

OrYamato-estyle.
The official court painting style that specialized in Japanese
subjects. Colourful miniature or very detailed brushwork with a
long tradition of panting hand scrolls (emaki). It had a
revival of style at the beginning of the 19th century.

Ukiyo-e

More popular as woodblock prints , these
paintings of the urban life, with a particular emphasis on the
pleasures of the 'floating world': prostitution, fashion,
kabuki, sumo and other recreations.

Zenga

This can include paintings, but is more
often to be calligraphies by Zen priests and academic laymen

Japanese drawings

In
the course of the
17th century
Japanese drawing
released itself from
the Chinese
inspiration which
had dominated it in
earlier periods. It
developed into a
independent medium
with many exquisite
examples by artists
such as Utamaro,
Hokusai, Buncho and
Itcho.
Japanese drawings
range from
preparatory drawings
for woodblock prints
and sketches to
paintings of various
dimensions on pieces
of paper, silk or
cardboard (tanzaku
and shikishi).
Some drawings were
done for practise
purposes and others
to be mounted on
sliding doors (fusuma),
screens (byobu)
or scrolls (kakemono
or kakejigu).
Fan paintings form a
special group. They
were intended to be
mounted on the
bambooframe of a
fan. They have a
distinctive shape
and size. In some
cases they were
later mounted on
screens or sliding
doors.
Sometimes Japanese
drawings were
collected in special
collectors albums (shuga-jo).

A Chinese flower-painting
theme that features depictions of plum (ume), wild orchids
(ran), bamboo (take) and chrysanthemums (kiku) and makes the
implicit comparison
between qualities attributed to the plants and men of virtue.
The paintings usually have seasonal associations:
Plum with winter;
Orchids with spring;
Bamboo with summer;
Chrysanthemums with autumn.

The Four Friends (四君子),

Traditional Chinese painting is
based on the Four Friends - or the Four Gentlemen as they are
sometimes called because the scholars who founded the literary
style respected and identified with their characteristics.

Plum
(梅, méi)

The hardy winter flower and the
first to come into bloom, year after year, symbolising constancy
in love. The contortions of the wild plum resemble a fierce
dragon and when it is cultivated, the Chinese often prune it to
accentuate this image.

Orchid
(蘭, lán)

The fragrant wild orchid that grows
beside water deep in the woodland is the epitome of femininity
and serene beauty in the shadows of obscurity. It was seen as
the scholar's sweetheart, the curving spikes of flowers
symbolising a modest maiden washing her hair.

Chrysanthemum
(菊, jú)

The emblem of China that goes on
flowering in a blaze of colour long after summer flowers have
faded, defying the onset of winter. Its strong bright blooms are
seen as a triumph of hope over adversity

Bamboo
(竹, zhú)

Sturdy, upright and vigorous, but
with humility. The Chinese symbol often used to represent the
joints of the bamboo also means living a virtuous life, and its
hollow stems are a reminder that there is always room to acquire
more knowledge.

The Four Gentlemen, also called the
Four Noble Ones, in Chinese art refers to four plants: the
orchid, the bamboo, the chrysanthemum, and the plum blossom. The
term compares the four plants to Confucian Junzi, or
"gentlemen". They are most typically depicted in traditional ink
and wash painting and they belong to the category of
bird-and-flower painting in Chinese art.

The Four Gentlemen have been used in
Chinese painting since the time of the Chinese Song Dynasty
(9601279) because of their refined beauty, and were later
adopted by artists in Korea, Japan, and Vietnam. As they
represent the four different seasons (the plum blossom for
winter, the orchid for spring, the chrysanthemum for autumn, and
the bamboo for summer), the four are used to depict the
unfolding of the seasons through the year.

The Four Gentlemen are an important
subject matter in learning to paint in the aforementioned Asian
traditions, as they embody all the basic brush styles. They are
also depicted in Mah-jong tiles.

In Korea the Four Gentlemen were
also known as the Four Gracious Plants. Rules differed from the
Chinese in certain ways. In particular, the orchid needed to
imitate the shape of the eye of a bird or the legs of a mantis.
One can find the hidden figure of mantis legs and the eyes of an
eagle in the flower.

Related to the Four Gentlemen are
the Flowers of the Four Seasons, which consist of the orchid
(spring), the lotus (summer), the chrysanthemum (autumn) and the
plum blossom (winter). They contain three of the elements of the
Four Gentlemen

Japanese Art Signatures: A Handbook and Practical Guide
[Paperback]
$45.46 through Amazon.com
James Self
Book Description
Publication Date: July 18, 2006
The most comprehensive, authoritative, and easy-to-use tool for
reading Japanese art signatures is again available, in a
limited-edition reprint. Designed for both layman and scholar,
its simplified approach allows users to find and identify over
11,000 names of Japanese artists and craftspeople, from all
periods and in all media. Includes a sections on reading dates,
a list of 300 modified and debased characters, and an index of
provinces and place names, plus reproductions of date and censor
seals on woodblock prints, publishers' trademarks and seals, and
actors' and Genji mon. Indispensable for the scholar or
collector of Japanese art.
About the Author
James Self has been involved with Japanese art for many years,
both as a collector of swords and as a director and consultant
to one of Britains largest companies specializing in the
valuation of antiques. Nobuko Hirose holds an ma in Japanese Art
History from soas, University of London, and is author of
Immovable Wisdom, on the teachings of Zen Master Takuan Soho.
Product Details
Paperback: 400 pages
Publisher: Floating World Editions (July 18, 2006)
Language: English
ISBN-10: 1891640097
ISBN-13: 978-1891640094
Product Dimensions: 9.9 x 7.1 x 1 inches

Japanese Names & How to Read Them: A Manual for Art Collectors
and Students [Paperback]
Albert J. Koop (Author), Hogitaro Inada (Author) $67.68 through
Amazon.com
Book Description
ISBN-10: 1891640135 | ISBN-13: 978-1891640131 | Publication
Date: August 1, 2006
Long out of print, the pioneering work of Koop and Inada remains
an important and fundamental reference for those wishing to
master the pronunciation of Japanese names. The central feature
of the 572-page work is a dictionary of kanji used in writing
Japanese names, categorized by stroke count, with a complete
index cross-referencing characters by pronunciation Also are
included are useful auxiliary references such as the Genji
symbols, reign periods and dates, personal names and titles, and
typical signatures. With copies of the original 1923 edition
commanding from $200 to $800, this essential tool for students,
scholars, connoisseurs, and collectors is now available in a
reasonably priced, soft-cover format.
About the Author
Albert J. Koop was Keeper in the Department of Metalwork in the
Victoria and Albert Museum, honorary editor of the journal
Transactions, of the Japan Society, London, and author of the
seminal Early Chinese Bronzes. Sword scholar and translator
Hogitaro Inada was co-author, with Henri Joly, of The Sword and
Samé.
Product Details
Paperback: 572 pages
Publisher: Floating World Editions (August 1, 2006)
Language: English
ISBN-10: 1891640135
ISBN-13: 978-1891640131
Product Dimensions: 10 x 6.9 x 1.4 inches
Excellent, authoritative & easier to understand reference guide
to this very difficult subject. Have to re-read a few times to
understand, but guide is only one I found to be understandable.
Very in depth research went into this reference & guide. I
highly recommend for amateurs & professionals.
http://www.asianstudiesbooks.com/va.htm for a more
comprehensive list

Click to enlarge

Solid Ebony
Artists Ruler Tool, No: 119 by J M PAILLARD
Measures approx. 400mm long; with 8.5mm square section.
Legible maker's name and number on the piece. Lovely soft sheen
patina.
Paillards were a French Artists supplies firm who sold their
paints to Van Gogh, among others!
Jaques Michel Paillard (1808-between 1878-1884).
Seller of artist's materials and owner of a paint factory in
Paris.
Letter #307 from Vincent Van Gogh to Theo. 29 and 30 July
1883.This mentioned that Vincent needed to buy his paints from
J.M.Paillard.
Paillard's were the paints of Van Gogh!
Paillard was a supreme paint supplier that was loved by Japanese
Painters in the Western Style and they would visit the shop or
even send for these paints. This is a unique and wonderful
artefact from this period
.
£50 / $80 including post

Exhibitions in Japan: Bunten, Teiten, Inten and Nitten

Bunten and Teiten were official,
state-controlled, juried art exhibitions. Nitten replaced them
after the war.

The meaning of these official exhibition societies for the world
of Japanese arts was pretty comparable to the French Salon in
the second half of the nineteenth century. The conservative
Salon was the institution most hated by the French
impressionists - their works were regularly rejected by the
jury. And without a representation by the Salon, an artist had
hardly any chance to sell anything to private collectors.

Bunten
At the beginning of the twentieth century the Japanese
administration decided that something should be done to preserve
the long tradition of Japanese art by promoting contemporary,
traditional artists. The result was the founding of an art
organization by the Ministry of Education with annual, juried
art exhibitions.

The new organization was called the Bunten. It had three shows,
one for Japanese style painting, one for Western style painting
and one for sculpture. Woodblock prints were regarded at that
time as the product of some kind of ancient Xerox Copy process -
unimportant and not worth to be exhibited in an important art
show. Therefore prints were not represented at Bunten.

Before Hiroshi Yoshida became a printmaker, he was an active
painter. He was among the lucky ones, whose works were approved
by the jury. And more than that, Hiroshi Yoshida became a juror
at Bunten. And many of his paintings were purchased by the
Ministry of Education.

Teiten
In 1919 Bunten was renamed to Teiten and it was now controlled
by another organization of the Japanese state, the Imperial Art
Academy. Finally in 1927 Teiten accepted prints for their
exhibitions. After a reorganization of the Imperial Art Academy
in 1935 and 1937 the Teiten was again renamed to Bunten or Shin
Bunten.

Inten
Another important art exhibition organization was Saiko Nihon
Bijutsuin, also called Inten. It was established in 1914 as
successor to an artists association founded in 1898. Inten did
not accept any inclusions of art prints either.

After the
War: Nitten After the end of the
Pacific war the attribute Imperial was no
longer trendy. Everything was reorganized and
renamed. In 1946 the Imperial Art Academy became The
Japan Fine Arts Exhibition, abbreviated as Nitten.

The Nitten has developed into a
large organization. Today the Nitten has six
art/design faculties, Japanese Style Painting
(Nihonga) , Western Style Painting (

Yōga),
Sculpture, Craft as Art, Calligraphy and more
recently Architecture

Japan Art Academy

The Japan Fine Arts Exhibition(日展,Nitten (Nihon bijutsu
tenrankai))'
claims to be the largest combined art exhibition of
its kind in the world, attracting a great number of
fans and art critics. The exhibition consists five
art categories: Nihonga and Western Style
Painting, Sculpture, Crafts and Calligraphy. During
each exhibition, works of the great masters are
shown alongside works of the new but talented
artists.

Literature source used for this
information on the Exhibitions in Japan:

Dieter
Wanczura-Artlelino

Helen
Merritt, "Modern Japanese Woodblock
Prints - The early years", published
by University of Hawaii Press,
Honolulu, 1990, ISBN 0-8248-1200-X

Ancient Japan and Asuka period (until 710)

The origins of painting in Japan date well back into Japan's
prehistoric period. Simple figural representations, as well as
botanical, architectural, and geometric designs are found on
Jōmon period pottery and Yayoi period (300 BC  300 AD) dotaku
bronze bells. Mural paintings with both geometric and figural
designs have been found in numerous tumuli dating to the Kofun
period and Asuka period (300-700 AD).

Along with the introduction of the Chinese writing system
(kanji), Chinese modes of governmental administration, and
Buddhism in the Asuka period, many art works were imported into
Japan from China and local copies in similar styles began to be
produced.

Most of the scrolls offered on Tokonoma Scrolls
date from the Edo and period to the mid 20th century. However, I
sometimes locate earlier scrolls and most of these need to
undergo full restoration with new backing and silk mounts.

Definition and translations of what the
type of scroll is: In Japanese art, there are three
major categories to define the authenticity of a
painting and also to deter any errors. The three are:
Shinpitsu, Nikuhitsu, and Kougei.

Shinpitsu:
If directly translated, it would be the true hand.This
means that the painting is an authentic piece done by
the artist and is backed up with documentation either on
paper or on the box. Many tend to forget to keep the box
since the artist may sign the box to add value or even a
appraiser, causing a lot of trouble to actually
authenticate items and to keep the integrity of the
piece (unless a major war or natural disaster might be
another reason). Documentation can vary within the
various time periods, but is helpful and adds evidence
to the painting. However, as a discretion, just rarely
even with the inscriptions and paper there may be a good
hand copied piece or produced by another artist claiming
to be another even (yes sometimes it happens) a
reproduced painting, and please understand this as a
part of the history of the art in a unique and
interesting aspect.

Nikuhitsu:
In English it would be close to saying attributed, but
the word has a deeper meaning. The painting may have
been rendered by hand, but since Japanese paintings (not
all but at least most) can be done very well making it a
difficult task to know whether it was done by the artist
or not. Sometimes checking the style of the signature or
the seals may work, but even those cannot be relied upon
easily. Nikuhitsu is also used for works done by
anonymous artists or those who have a name, but no art
records or catalogues will show their name. Some of the
works may be found in collections for the purpose of the
historical or anthropological significance either in the
subject of the art or the person who owned it.

Kougei:
A more polite sense of saying the work was reproduced
using machinery or contemporary methods to make several
copies (copper plate, silk screen, lithography,
woodblock, etc.). Not all reproductions are to be taken
lightly. Some reproductions can be done by woodblock and
have some value while others will use 19th- early 20th
century Western methods for the purposes of museum sales
or even to give as gifts to large donors. Kougei has
been a way for many collectors to enjoy the art in a
more casual manner.

Tokonoma
scrolls will restore scrolls for you and Ueda san will
research the signature and seals

To conclude;In most cases I have
tried to ascertain the artist as best I can but
sometimes that can be difficult as most scrolls are
bought by me from people may know little or indeed do
not know anything about the scroll or these have been
purchased in auction in various countries including
Japan and China and the auction seller has been unable
to determine the artist.. However, to determine the
artist and date I also use the services of a scroll
researcher who has access to many references on scroll
artists but despite that some artists may not be listed.
Most scrolls that Tokonoma Scrolls sell date from
between the early 19th to the mid 20th century. We do
try our best to get the artist right but despite quite
intensive research and sometimes considerable
investigation, we can only offer our opinions and
sometimes the opinions of the auctions from which we buy
the works.. Apart from one or two examples of a screen
printed scroll, all scrolls are hand painted original
scrolls . Tokonoma scrolls also restores and remounts
old scrolls or scroll paintings to give new life to a
work and that is also mentioned in the listings.

Artists in research include the following:

Fukada
Chokujo (1861-1947)：
Fukada Chokujo was a painter from Meiji to early Showa
era.Fukdada Chokujo learned painting from Morikawa Sobun.
His pseudonym is Shugetsu

Watanabe Ikuharu (1895~1975)：
Watanabe Ikuharu was a painter who was born in Nagoya city,he
learned painting from Mizutani Honen in his young age,and next
he learned painting from Yamamoto Shunkyo.Watanabe Ikuharu
created Chukyo Art Academy.He was good at Flowers and Birds
painting,Sansui painting.

Yanagisawa Kien (1704-1758)：
Kien was born in Edo, and raised with a special education and
martial arts. He's already knew the way of painting from Kano-ha
when he was 8 years old. And he learned the way of chinese
painting when he was 12. He was famous for multi talented and he
was the master of at least 16 kinds such as Tea ceremony,
playing koto, medicine, fencing, javelin, horse riding, etc...
which make people to call him genius. He found painting talent
of Ikeno Taiga and tought him the way of chinese painting. His
pseudonyms are Chikukei, Gyokukei, Kienshujin, Kien, Ryurikyo,
Ryushikobi, etc...

Otake Chikuha (1878-1936)：
He was born in Niigata. He learned painting from Sasada Unseki
of Nanshu-ha he was given the pseudonym Chikuha. In 1891, he
moved to Toyama with his older brother and he made money by
painting illustration for newspapers or advertisement. His
younger brother got a prize of the book named Shokokumin, he
started to send illustration to this book. After he moved to
Tokyo and learned under Kawabata Gyokusho, he got prizes that
made his painting very popular.
His pseudonym is Seppou.

Tani Buncho (1763-1840) The
painter of the Edo era latter period. He was the person who
accomplished Edo Nanga, the achievement was praised as "Three
major painter of the Tokugawa era" with Maruyama Okyo
(1733-1795) and Kano Tanyu (1602-1674). He learned
painting from Kato Bunrei (1706-1782) of Kano School and
Watanabe Gentai (1749-1822) of Nagasaki School at an
early age, acquired Hokuga from Kitayama Kangan (1767-1801).1788,on
the way to Nagasaki to study painting, he learned the technique
of the Nanga from Kushiro Unzen (1759-1811) under
Kenkado Kimura (1736-1802) who affected many cultured people
in those days in Osaka, he deepened Nanga from Chinese painter
Cho Shun Koku in even Nagasaki. He got popularity by opening new
style of painting that blended Nanga to subject with Hokuga. He
also took in the perspective drawing of the Western painting
over the countries. He had many disciples, Watanabe Kaza
(1793-1841), Tachihara Kyosho (1786-1840) ,and so on.
He always preached importance of sketch and copying of old
painting for his pupil, and he died at 79 years old.
His pseudonyms are Gagakusai,Munianshujin,Shasanro,Choou,Mui,etc

Shiokawa Bunrin （1801-1877）：
Shiokawa Bunrin was a shijo-ha school painter, he learned
painting from Okamoto Toyohiko (1773～1845),he took in Western
painting style taking over from traditional Shijo style.He was
good at Flower & Bird painting but he painted various kinds of
painting style well

Tosa Mitsuyoshi (1700-1772)：
Tosa Mitsuyoshi was the son of Tosa Mitsusuke. In 1738, he
painted Daijoebyobu (paint for Folding screen) for Emperor
Sakuramchi.

Tosa Mitsuzane (1780-1852)：
Mitsuzane was the first son of Tosa Mitsusada. He became
Edokoro-Azukari (Chief of Edo Shognate Atelier) as a successor
of his father and worked togather.
His pseudonym is Kakusui.

Tosa Mitsusada (1738-1806)：
Mitsusada is the second son of Tosa Mitsuyoshi. The first son of
Mitsuyoshi is Tosa Mitsuatsu. He became Edokoro-Azukari (Chief
of Edo Shognate Atelier) with his brother.
His pseudonym is Enran.

Ganryo (1798-1852)：
Ganryo was a Kishi school painter in Edo later period. Ganryo
learned painting from Ganku, he became a husband to Ganku's
daughter.Ganyo was good at Figure painting, Flowers and Birds
painting.
His pseudonyms are Sihiryo,Gaun etc...

Nukina Kaioku
(1778~1863) :
Nukina Kaioku was a Confucian,calligraper & painter in Edo later
period. He was a one of the three calligrapher in Bakubatsu /
Edo later.Kaioku learned calligraphy from Nishi Nobuyuki and
learned painting from Kano school painter-Yano Norihiro.His
pseudonym are Kaisen,Kaikyaku,shoou,hochikusanjin etc...

A

Akamatsu
Unrei (1892-1958)

赤松 雲嶺

Unrei, Akamatsu 雲嶺 赤松 (1892 - 1958)

Akamatsu Unrei was born in Osaka in 1892. His real name was
Yoshisuke.
He studied painting with Unsen Koyama and Tikugai Fujii and
later with the famous nanga painter Himejima Chikugai
(1840-1928).
At a relatively young age he already proved a true master of
nanga, surpassing the talents of his teachers and finding a new,
personal way of looking at nanga. His paintings were often
exhibited with the Bunten, Teiten and Nitten and he was a member
of the Nihon Nanga-in.
He died in 1958 at the age of 65.

B

Kaburagi Baikei (1750~1803)"

Chūwa [Baikei] (17581835),

Baiitsu Yamamoto
(1783 - 1856)

Painter at the latter part of the Edo period. Born in Owari. He
has several pen names except Baiitsu such as Shunen or Gyokuzen
or Baika. Moved to Kyoto with Chikudo Nakabayashi and
established his fame. He made friends with Sanyo Rai and Seigan
Yanagawa. Late in his life, he came back home and became an
official painter for the domain of Owari.

Bakusen Tsuchida
(1887 - 1936)

Born in Sado,
Niigata Pref. His given name is Kinji. Entered the Kyoto
Municipal College of Painting, where he studied Japanese
classical painting and the Western contemporary philosophy of
painting. His style developed an inner neo-classicism.

Hirai Baisen
1889～1969

Buncho Tani
(1763 - 1840)

Painter at the
latter part of the Edo period. Born in Edo. Created new
painting style that several painting idioms such as Chinese and
the Kano school's and the Tosa school's and even Western were
adopted. Then, became a prominent figure of the Edo painting
circle. Kazan Watanabe is his pupil.

Kōno Bairei (幸野 楳嶺, March 3, 1844 - February 20, 1895)

Kōno Bairei (幸野 楳嶺, March 3, 1844 - February 20,
1895) was Japanese painter, book illustrator and art teacher. He
was born (as Yasuda Bairei) and lived in Kyoto. He was a member
of the Ukiyo-e school, and was a master of kacho-e painting
(depictions of birds and flowers) in the Meiji period of
Japan[3].

In 1852, he went to study with the Maruyama-school painter,
Nakajima Raisho (1796-1871) and Raisho's death, Bairei studied
with the Shijo-school master Shiokawa Bunrin (1808-77)[4].

His work included flower and bird prints and landscapes with a
touch of western realism. Bairei's Album of One Hundred Birds
was published in 1881.

He opened an art school in 1880, and his students included
Takeuchi Seihō, Kawai Gyokudō, Torei Nishigawa and Uemura Shōen

Bunrei Maekawa
(1837 - 1917)

Born in Kyoto.
Learned painting technique from his father Gorei Maekawa.
Good at painting flowers and birds.

Painter at the
middle part of the Edo period. Son of Tsunenobu. The 3rd head of
the Kobikicho Kano family. Took over his father's former
position as an official painter for the Tokugawa Shogunate.

Chikatoshi Enomoto
(1898 - 1973)

Pupil of Kiyokata
Tsuburaki. Graduated from the Tokyo School of Fine Art. Won a
special prize for the Imperial Art Academy Exhibition.
Good at painting women figures.

Chikuden
Tanomura

(1777 - 1835)

Painter at the latter part of
the Edo period. Born in Bungo. Learned painting technique from
Buncho Tani. And studied Chinese painting techniques.
He was a person of multiple talents and also good at making
poems, writing letters and characters, tea ceremony and others.
Chokunyu Tanomura is his pupil.

CHOKUNYU TANOMURA

March 31, 1814- January 21, 1907

The Old Crane Fishing 1850

Tanomura Chokunyu (1814-1907) was born in 1814 as the
third son of the Oka han clansmen, Sanomiya Denuemon. His uncle,
Watanabe Houtou knew Tanomura Chikuden during his youth and was
introduced to him around age 9 and enters Chikuden's school of art
around the 5th year of Bunsei (1822) and was recognized for his talent
and was soon adpoted into the Tanomura family. His elder disciples were
Takahashi Sohei and Hoashi Kyou.

During the 5th year of Tenpo (1834) Chokunyu
follows Chikuden to Osaka and enters Oshio Heihachiro's school,
Senshindo and learns Yomeigaku (Neo-Confucianism) and meets Fujisawa
Togai, Shinozaki Shochiku, Goto Shoin,and Okada Hanko. Plus he receives
a certificate of the Satake riryu style of Sojutsu (martial arts using
the spear). After his master, Chikuden's death on the sixth year of
Tenpo (1835) Chokunyu for a while takes a vacation between Kyoto and
Osaka and when he turned 27 he settles in Sakai and opens a poetry group
called the Kousaiginsha and had 300 members.

At age 35, he attends a zazen class held by the Obaku monk, Tenchu Shinichi and receives the
dharma name, Inka and when the Teno temple in Osaka was being restored,
he donated a 500 Luohan (arhat) painting to the temple. On the first
year of Manreki (1860) he moves to Osaka city, Kouraibashi and conducts
a memorial service for his late master. On the second year of Bunkyu
(1862) Chokunyu takes the effort to spread loose leaf tea ceremony
throughout Osaka and holds a tea event in honoring the 100th memorial of
the Obaku monk Baisao on the Seiwan banks of the Yodo River, and the
event was called the "Seiwan Chakai".

During this time, the lord of his
home in Oka, Nakagawa Hisanari requested that he come home and to serve
him as a clansmen and was thought to have been a recommendation from his
second master, the bunjin artist, Haruki Nanmei. The lord of the Tosa
clan, Yamauchi Yodo and the Ise-tsu clan, Todou Takayuki also favored
Chokunyu's talents.

After the Meiji restoration, on the 10th year of
Meiji (1877) at the age of 63, Chokunyu assists in the Kyoto Exhibition
and sends his paintings to the event which all won awards. The following
year, when Emperor Meiji was taking a tour, Chokunyu was requested to
meet the emperor and his fame grew. In 1880 (13th year of Meiji)
Chokunyu, Kouno Bairei, and Makimura Masanao establish the Kyoto
Prefecture school of the arts and Chokunyu serves the school's first
president. However when the school's various style started to compete
and fight with each other, he resigned his post in 1884 (17th year of
Meiji).

After this mess, he created his own small school known as the Nanshu Gagakko (The Nanga school of the arts). In 1896 (the 23rd year of
Meiji), Chokunyu, Tomioka Tessai, and Taniguchi Aizan establish the
Nihon Nanga Kyokai (The Japan Nanga Association) and merges the
association with his school. In 1899 (23rd year of Meiji) at the age of
86, he becomes the abbot of the Obaku sub-temple of Shishirin. Even
during this time he never stopped his activities of both powder and loose
leaf green tea ceremonies, exhibitions of his works and antiquities.

In
1907 (40th year of Meiji) Chokunyu removes his title of monk due to an
issue he did not agree with the previous abbot of Manpukuji and its
assistant. He died the same year on January at the age of 95. His
disciples were Kodama Katei and Tanaka Hakuin.

Chokunyu was known to have been
drinking and painting and composing poems so while he is a
wonderful painter , his dedications may occasionally be
slightly rambling. So here goes:

The first character looks like the character ten,
which is a type of writing that was used during the Qin
dynasty and from the artists period until today is used for
seal script, so Chokunyu might be creatively using it to
refer to character or ji. (or maybe the word is archaic
character to refer personality or form)

Translation:

Character clearly as the brave
willows in the waving winds, removing itself and slowly
ascends in four different ways, your skill is respected by
your wife and children, the rains leaving whirlpool like
marks on the land where the single elderly (specifically 77
years old) are.

This is a very interesting poem,
the second line has some patch translation, the last two
characters in the first line, but had to make an assumption
to fill in the lines. So this gives you an idea of
what he might be writing, in a way celebrating someone's 77
year old birthday or offering something to recollect in
memory or the past.

The translation could therefore read this way:

''Your
character, flexible as the willow, your wisdom, an
inspiration to your family, your soul, like the whirlpools of
ancient landscape and, having reached a venerable age, you still do
things your own way'

Chikuho Mizuta
(1884 - 1958)

Nanga style Painter. Born in
Osaka.
His given name is Chuji.
His younger brothers are Kenzan Mizuta and Juhei Kaname.
Studied painting under Chukugai Himeshima.
Good at painting Sansui landscape view pictures.
Established the Japan Nanga Institute with Shuson Kohno,
Chikuson Tajika and Kaido Yamada.
Judge of both the Teiten Exhibition and the Shin-Bunten
Exhibition.

Chosei Miwa
(1902 - 1983)

Born in Niigata
Prefecture. His given name is Nobuo.
Graduated from the Kyoto Art School. Pupil of Insho Domoto.
Later, Chosei married with Mitsu, younger sister of Insho.
Member of the Japan Art Academy, Adjudicator of the Nitten
Exhibition.

Chikuha Otake (1878-1936):

Chikuha Otake (1878-1936)
He was born in Niigata. He learned painting from Sasada Unseki
of Nanshu-ha he was given the pseudonym Chikuha. In 1891, he
moved to Toyama with his older brother and he made money by
painting illustration for newspapers or advertisement. His
younger brother got a prize of the book named Shokokumin, he
started to send illustration to this book. After he moved to
Tokyo and learned under Kawabata Gyokusho, he got prizes that
made his painting very popular.
His pseudonym is Seppou.

D

Doshun Kano
(1747 - 1797)

Painter at the
latter part of the Edo period. The 4th head of the Surugadai Kano
school. Painted the folding screen for the king of Korea by
order of Tokugawa Shogunate. He was conferred the "Shikibu-Kyo
Hogen" rank.

Doi Kinkoku Born in 1901 (34th
year of Meiji)

T

an inscription found on one of his scrolls says
Suiu,
-
Shouchu its means
the estate or a place that was owned by someone.

The distinctness that made me find the artist is the signature, he
signed his painting as nai i itsujin saku and that means the recluse who
is similar to his father and the artist name is Doi Kinkoku Born in 1901
(34th year of Meiji) and is trained under Mori Kinseki and Himejima
Chikugai and was known to have painted Nanga style paintings frequently.
However Doi Kinkoku is notaswell
knownas his teachers
and his work is hard to find.

Ohara Donshu (大原呑舟

(17911857)

Ohara Donshu was born in Awa Province (Modern Tokushima Prefecture).
He was the adopted son of Ohara Donkyo (大原呑響), and he studied
painting under Shibata Gito (柴田義董).
He was good at painting landscapes and figures
This is a late Edo period Shijo school artist Ohara Donshu Ohara Donshu
(Ohara Kon)
was most active between the years 1811 and 1836. He died on the 29th of
December 1857. He was born in and resided in Kyoto. He was a student of
the prominent Shijo school artist Shibata Gito (1780-1819). He also
studied
under his father Ohara Donkyo (died 1810) who was a self taught painter
in
the Nanga tradition. Donshu's works are held in the
British Museum and the Cleveland Museum of Art.

Gito Daishin 1657-1730

Daishin was a monk at the Daitoku-ji Temple

E

Eitoku Kano
(1543 - 1590)

Painter at the
latter part of the Muromachi period and at the Azuchi-Momoyama
period. Born in Yamashiro (Kyoto) area. The 5th head of the Kano family.
Served Oda Nobunaga and Toyotomi Hideyoshi. Decorated
Nobunaga's Azuchi castle and Hideyoshi's Osaka castle.

Enomoto Chikatoshi
(1898 - 1973)

F

Fuko Matsumoto
(1840 - 1923)

Japanese painter.
His given name is Takatada. Fuko is his pen name. Another pen
name is Angado. Learned painting technique from Yosai Kikuchi
and others, then became a leading figure of historical
paintings. Educated Shiko Imamura and Seiju Omoda and others.

Hori Fumiko

1918-

1918 Hori Fumiko was born in Tokyo.
1939 was first accepted into the 2nd "Shin-Bijutsujin Kyokai"
exhibition during she was in "Joshi Bijutsu Senmongakko
(existing Joshibi University of Art and Design)".
1940 graduated from "Joshi Bijutsu Senmongakko". She was
appointed to a member of the Shin-Bijutsujin Kyokai.
1952 was awarded with the 2nd Uemura Shoen prize.
1989 She exhibited at the Euro Paria '89 Japan/Contemporary
Japanese Painter in Belgium.

Hanko Fukuda 1804-1864

Fukuda Hanko :

Born in Shizuoka prefecture,
Mitsuke. In the beginning Hanko was trained under the Kakegawa
clan resident artist, Muramatsu Ikou and later with Magata
Dairyo. Around 1830-1844 he is trained under Watanabe Kazan.
During the Nansha purge of 1839 when Kazan was arrested, Hanko
traveled to tawara in Aichi pref. where Kazan was detained. In
the beginning, Hanko painted flower and bird subjects, but with
his fellow, Tsubaki Chinzan gaining popularity in the theme,
Hanko changed his specialty to landscapes.

G

Gaho Hashimoto
(1835 - 1908)

Gaho was born in Edo, he was a son
of Hashimoto Ohara who was the painter retained by the Kawagoe
clan. Infancy name; Taro later 長卿. Different pen
name;克己斎・酔月画生
Yotsuki . He became a disciple of Kano Shosen. On
the same date, Kano Hogai, Gaho's lifelong friend, also became a
disciple of Tadanobu . In 1897 he worked with Ernest Fenollosa
and Okamura Tenshin and became the first professor of Tokyo
National University of Fine Arts and Music. the former name of
Tokyo University of the Arts (Tokyo Geijutu Daigaku)). He also
established "Nihon Bijutsu In"(The Japan Art Institute- the art
organization established by Okakura Tenshin and Hashimoto Gaho
in 1898)

He was teacher to many fine artists including Hishida
Shunso, Yokoyama Taikan, Shimomura Kanzan, Saigo Kogetsu, Kawai
Gyokudo etc. Later Gaho organised "Futaba kai" with Gyokudo and
formed "Gaho kai". a member of "Teishitsu gigein"(an artist who
created arts and crafts only for the Imperial Household in the
Empire era.)

Ganku Saeki
(1749 - 1839)

Painter at the
latter part of the Edo period. Patriarch of the Kishi school.
Born in Kanazawa. Went to Kyoto and attended on Prince Arisugawa.
Became an official painter for the Imperial Court. Good at
painting sansui and animals and flowers. Especially good at
painting tigers.

Ganku
(1756-1839)

A painter of the Edo middle
～ the latter period. He
was born in Kanazawa.He took service with a dyer,and engaged in
work of Kaga dyeing.It is said that he was so poor that
recognized a character by looking a signboard of merchant's
family and studied a painting independently. He moved to Kyoto
in 1780,began full-scale picture activity, he learned
independently the styles of painting such as "Minshin-Ga","Nanpin
School","Maruyama School" at random, he built the style of
painting of the self. He drew the paintings on paper sliding
doors and screens of Kanazawa castle by a invitation of " Maeda
Narinaga (1782-1824)" in 1809,he blended the style of painting
of various schools, and fused expression characteristics and
decorativeness, completed an original style of painting. He also
formed a Kishi school and educated a lot of disciples, "Kishi
Chikudo (1826-1897)" who played an active part from Meiji
era,"Shirai Kayo" who wrote "Gajo Ryoryaku","Kawamura Bumpo",his
son "Gantai (1785-1865)are known. His popularity was divided
into two with "Gosyun (1752-1811)" after "Maruyama Okyo
(1733-1799) was died, it is said that the strength of the
exhibitionism was frowned upon by people. It was famousness that
painting price in particular was high, and he was good at the
picture of the tiger.
His pseudonyms are
Doukoken,Doko,Kayo,Kakando,Kotokan,Tenkaio,etc

Shibata Gito
柴田義董 Japan,
1780  1819

Notes on other artists that painted winter
scenes with animals and birds

Gito Shibata,
白川芝山.

Pupil of Go Shun 1752-1811
the founder of the
Shijō school of Kyoto

Shibata Gitô was born in Bizen and
moved to Kyoto, where he became a student of Matsumura Goshun
(1752-1811), the founder of the Shijô school of painting. Soon he became
an important member of this school, specializing in landscapes and
kachôga. His early death prevented him from becoming more widely
known and from becoming as famous as Matsumura Keibun and Okamoto
Toyohiko, the other two most prominent members of the Shijô school.
He also painted in
the style of the Maruyama-Shijō school, whose founder Maruyama ōkyo
(1737-95) had developed a new, naturalistic style to depict, among many
other subjects, genre scenes of the urban life of Kyoto. Shibata Gitō
(1780-1819) was a pupil of ōkyo's contemporary Go Shun (1752-1811). He
died young and his works, characterized by fine brushwork and a
light-hearted charm, are relatively rare.

Pictures of Flowers and Birds (Kachoga) took as its
main subjects birds, grasses, and flowers. Some focused only on grasses
and flowers, while in others insects such as cicadas, bees, and
butterflies appeared in place of birds. There were in fact a large
number of sub-types, including some that depicted animals like dogs,
rabbits, or deer, in combination with flowers or trees.

Students included Asai Seisho

Kawai Gyokudo

November 24, 1873 - June 30, 1957

Kawai Gyokudō (川合 玉堂?, November 24, 1873 - June 30, 1957)
was the pseudonym of a
Japanese painter in the nihonga school, active from Meiji through Shōwa
period Japan.
His real name was Kawai Yoshisaburō.
Gyokudō was born in what is now Ichinomiya city, Aichi Prefecture, as
the eldest son of a paper,
ink and brush merchant. He went to Kyoto in 1887 to study under Kōno
Bairei of the
Maruyama-Shijo school of painting. In 1896, he moved to Tokyo and he
became the student of
Hashimoto Gahō, of the Kanō school. He also studied Western-style
painting and developed a
highly personal style, especially in the field of landscape painting.
Gyokudō is noted for his polychrome and occasionally monochrome works
depicting the mountains
and rivers of Japan in the four seasons, with humans and animals shown
as part of the natural landscape.
Among his representative works are Futsuka zuki (The New Moon), Yuku
haru (The Departing Spring),
Mine-no-yu (Evening at the Mountain Top), and Bosetsu (Snow in the
Evening).
In 1898, Gyokudō joined with Okakura Tenshin and Yokoyama Taikan to
found the Nihon Bijutsuin
(Japan Fine Art Academy). In 1907, Gyokudo was selected as a judge for
the first annual Bunten Exhibition.
He became a teacher at the Tokyo Bijutsu Gakkō (the forerunner of the
Tokyo National University of Fine
Arts and Music) in 1919.
In 1940, he was awarded the Order of Culture by the Japanese government.
Most of his works are preserved and displayed at the Gyokudo Art Museum,
in Ōme, Tokyo.

Painter and poet
at the latter part of the Edo period. Younger brother of Himeji
domain head. Son in law of Bunnyo who was the 18th head of
Nishi-Hongan-Ji Sect. Adopted sketch technique, Ukiyo-e
technique and also the techniques of the Tosa school and the
Maruyama school. At last, he admired Korin Ogata who is the
patriarch of the Rin school.

Hirotsura Sumiyoshi (1793-1863)

He
was born in Edo in 1793. His first name was Hirosada. The
second son of Hiroyuki Sumiyoshi. He was the expert of the
Sumiyoshi sect in the Edo latter period. He was the Sumiyoshi
sect 7th senior Priest. He died age 71 years old in
1863.

Hokusai Katsushika
(1760 - 1849)

Ukiyo-e
printmaker and painter. Born in Edo. His real name is Tetsuzo.
There are over 30 pen names for him except Hokusai. Learned
painting techniques of Ukiyo-e and the Kano school and the Tosa
school. Later he adopted a more western style under the
influence of Kokan Shiba. "Thirty six views of Mount Fuji" is
the most popular one of his artworks.

Katsushika Hokusai was a Ukiyo-e painter well known
internationally. He published over 30,000 paintings during his
life. His creativity have a great influence on any kinds of
artists such as a musician or an industrial artist. Vincent van
Gogh is well known as the one who was influenced by Hokusai very
much. Hokusai learned every sort of paintings and made his
original way of painting. His pupils are more than 200 people.
His most important work would be "FUGAKU 36 KEI" or "HOKUSAI
MANGA". From "FUGAKU 36 KEI", Claude Achille Debussy inspired
making "La mer". He is the one of most importat person of
Japanese Art History.
Hokusai has 30 pseudonyms. Hokusai, Haruo, Gunmatei, Sori,
Tokimasa, Hokusaitokimasa, etc

Houitsu Sakai (1761-1828)

Rimpa painter. Born in Edo, second son of Lord Sakai of Himeji
Castle in Harima Province. To Kyoto to study. An eclectic
painting education: began in Kano school; then under Toyoharu
Utagawa of the Ukiyo-e school, Nangaku Watanabe of the Maruyama
school, Shiseki So of the Nanga school; finally, on the advice
of Buncho Tani, took up the Rimpa style. Also well versed in the
classics, poetry, and the Noh. In 1797 became a Buddhist priest;
spent the last 21 years of his life in seclusion, painting and
studying the life and works of Kohrin. (From 1707 the Sakai
family had supported Kohrin with a daily allowance for a number
of years and had a large collection of his work.) Published two
influential books -Kohrin Hyakuzu (1815) and Kenzan Iboku Gafu
(1823)- of woodcuts after paintings by Kohrin and Kenzan, as
well as a book of his own work, Ohson Gafu. His style owes
something to the realism of Ohkyo, but much more to Kohrins
decorative manner, which he revived: a liquid style, with the
dramatic contrasts of Kohrin combined with particularly clear
colors, elegant and refined

Kanō Isen'in Naganobu (1775-1828) was the seventh generation
head of the Kobikichō branch of the Kanō school in Edo (modern
Tokyo).
He was an artist of considerable talent, and was official
painter to the shōgun.
For this work he employed mild, graceful brushwork and
colouring, drawing on an older style of Yamato-e.
The secret of his success was said to have been that he combined
the qualities of gakuga (learned artistic ability), highly
prized by the Kanō school, with shinga (instinctive artistic
ability), which was customarily regarded as less important.

Iccho Hanabusa
(1652 - 1724)

Painter at the
middle part of the Edo period. Born in Osaka. Learned
painting technique from Yasunobu Kano. Became a patriarch of the
Iccho school. He also learned Haiku poem from Basho Matsuo. His
pen name for Haiku is Gyoun.

Imao Keinen (1845 - 1924)

HiroshigeUtagawa
(1797-1858):

The younger rival of Katsushika Hokusai,
Hiroshige was a member of the Utagawa school, along with
Kunisada (1786-1865) and Kuniyoshi (1797-1861). The Utagawa
school, containing hundreds of artists, stood at the forefront
of nineteenth century woodblock prints. Particularly noteworthy
for their actor and historical prints, members of the Utagawa
school were nonetheless well-versed in all of the popular
genres. During Hiroshige's time, the print industry was booming
and the consumer audience of prints was growing rapidly.
Previously, prints had been issued in sets of ten or twelve, but
the number of prints within a set was increasing at this time.
This trend can be seen in Hiroshige's own work, from Sixty-nine
Stations of the Kisokaido to One Hundred Famous Views of Edo. In
terms of his style, Hiroshige is especially noted for using
unusual vantage points, seasonal allusions, and striking colors.
He adapted Western principles of perspective and receding space
to his own works in order to achieve a sense of realistic depth.
Even more, he worked extensively within the realm of meishoe,
pictures of famous places. During the Edo Period, tourism was
also booming, leading to increased popular interest in travel.
Travel guides abounded and towns appeared along routes such as
the Tokaido, the road that connected Edo with Kyoto. In the
midst of this burgeoning travel culture, Hiroshige drew upon his
own travels and tales of others' adventures for inspiration in
creating his landscapes. For example, in Fifty-three Stages on
the Tokaido (1833) he illustrates anecdotes from Travels on the
Eastern Seaboard (Tokaidochu Hizakurige, 1802-1809) by Jippensha
Ikku, a comedy describing the adventures of two bumbling
travelers as they make their way along the same road.
Hiroshige's Fifty-three Stations of the Tokaido (1833-1834) and
One Hundred Famous Views of Edo (1856-1858) greatly influenced
French Impressionists like Monet. Vincent Van Gogh also copied
two of the One Hundred Famous Views of Edo. Hiroshige also
influenced the Mir iskusstva, a 20th century Russian art
movement of which Ivan Bilibin was a major artist.

Iwasa Matabei (1578 - 1650)

Isamura Ippo

Isamura Ippo (act:19th century)
He was born in Kyoto.His real name was Yoshisada.His another
name was Shuran-sai.

Mori Ippo (1798-1871

Mori Ippo (1798-1871) Shijo painter. Born and
lived in Osaka. Studied under Mori Tetsuzan, who later adopted
him. About 1850, created some of the paintings for the "fusuma"
of the Imperial Palace, Kyoto. A superb painter of birds, even
more so of landscapes he also produced scenes of Osaka life
rendered in an unconventional manner

Kokoro
Shizukanareba Rakunaganen :If we
have a peaceful day,a matter of joy will last longer.

J

Jippo Araki
(1872 - 1944)

Born in Nagasaki
Prefecture. His given name is Teijiro. Went to Tokyo and studied
painting from Kanpo Araki. Later became his adopted son. Good
at painting birds and flowers.

Jakuchu Ito
(1715 - 1800)

Painter at the
middle or latter part of the Edo period. Born in Kyoto as a
son of rich wholesale greengrocer. Studied Kano painting first,
then influenced by Chinese Yuan and Ming paintings. At the age
of 40, transfered resposibility for the family to his younger
brother. Good at painting animals and flowers with a realism.
Especially good at painting fowls (cocks).

K

ImaoKeisho （1903-1993)

ImaoKeisho （1903-1993）

His real name is
Takanori and an another name is Jakkan.

Imao Keisho was born in Kyoto in
May of 1903 the adopted son of Imao Keinen (1845 - 1924), one of
the most influential painters of the early 20th century.
He graduated from the Kyoto School of Fine Art, and then
apprenticed under his father in the Maruyama style. Not given to
the
National Exhibitions, he led a more reclusive life, however his work
decorates many temples in Kyoto, including both the Gold and
silver pavilions, Nanzenji, Kurodani and Honen-in. He worked on
Fusuma paintings of several temples including tributes to the
imperial families.Several pieces
have also been collected by the Imperial Household Agency.

Nature in print Japanese artist Ohara Koson
had his own unique perspective on the natural
world. In his numerous prints he depicted animals
in their own environment, specialising particularly
in birds. A characteristic of Koson's style was his
ability to imitate brushstrokes in the lines of a woodcut
print. This show presented a broad selection of his prints
alongside a number of paintings by the artist

Koson was born in Kanazawa in
Ishikawa prefecture. His original name was Matao. He
became a student of Suzuki Kason, a Shijo-style
painter. During his study with Kason, he took his artist
name Koson, which was perhaps partial adaptation of his
teacher's. His artist name was changed to Shoson in 1912
and Hoson later in his career.

Around 1900 Koson started teaching at the Tokyo School of
Fine Arts, where he met Ernest Fenollosa, an American who had a
great passion for Japanese art. Fenollosa convinced Koson
to deign prints in traditional Japanese-style for export, mainly
to the United States.

After the Russo-Japanese War irrupted in 1904, Koson,
like many ukiyoe artists at the time, began designing war
prints. By then people in Japan had lost interest in traditional
woodblock prints as a result of the introduction of photography.
The war was a chance for these financially troubled ukiyoe
artists to get out of poverty as the demand for illustrations of
the war was high.

As well as war prints, Koson also made some landscape
prints in the 1900's. But his chief interest remained to be
birds and flowers. He had many kachoe published by
Kokkeido and Daikokuya early in his career, and his
works around this period were in restraint of bright colours,
capturing a certain sense of calmness and elegance.

Changing his artist name to Shoson in 1912, he began
concentrating on painting. However, many believe that he created
some more prints for Daikokuya using the name Koson.

In 1923, the Great Kanto Earthquake and subsequent fire
destroyed much of Tokyo. Watanabe Shozaburo, a Tokyo
publisher and the initiator of the Shin Hanga (New Print)
movement, lost his workshop in this catastrophic event. His shop
was reopened in the following year, and to rebuild his print
business he recruited Koson and other best printmakers.
Koson re-started printmaking, in 1926. From then on, many
of his print designs, mostly kach-e, were published by
Watanabe, though Koson also worked with other
publishers including Nishinomiya Yosaku. On the works
published by Sakai and Kawaguchi, he used the name
Hoson.

Koson's prints after 1926 have much brighter colours than
his early works, perhaps because they were aimed at the Western
market. His kacho-e prints were exported to the U.S. in
hundreds. In 1930 and 1936, his prints were displayed at the
Toledo exhibition.

Koson's depiction of birds is masterful and body details,
feathers in particular, were done with meticulous care. His
kacho-e prints are considered among the best portrayal of
birds created in the 20th century Japan.

Ikeda Koson (1801-66)

Ikeda Koson (1801-66) was originally from Echigo
province (modern Niigata Prefecture), but went to Edo (modern
Tokyo), where he studied with Sakai Hōitsu (1761-1828), the
leading Rimpa artist there. He painted the popular, colourfulkachōga
(bird-and-flower paintings), but he later took up study of
Chinese ink paintings of the Ming dynasty (1368-1644) and began
to paint in this style. He made full use of the Rimpa technique
oftarashi-komi but blended other techniques as he developed
his skills.

Kano Isenin Naganobu
(1775～1828)

Isenin Hogen

A
painter of Edo latter period.A child of Kano Yoseiin Korenobu
(1753-1808).He learnd a painting from his father (Korenobu),his
father said that Naganobu has great talent as painter than me.He
is a master hand of Kano school in the early modern times.He
used technique to give gold paint for a black-and-white
drawing.Moreover,he was familiar with tea ceremony,took the
favor of Matsudaira Fumai (1751-1818).He was granted rank called
HOIN in 1816 and called myself Isenin.
His pseudonym is Fujiwara Naganobu,Hoin,Shin,Gensho, etc

Nakanishi
Koseki
(1807-1884)

Signed artist
name "Koseki" and sealed. Nakanishi Koseki (1807-1884), scholar
artist, active in Kyoto from late Edo to early Meiji era.

Biography Kôseki, Nakanishi 耕石 中西

Koseki although born in Osaka he was brought
up in Fukuoka Prefecture (福岡県,Fukuoka-ken) is a
prefecture of Japan located on Kyūshū Island.
He studied under the
great artist Oda Kaisen (1785-1862) a Nanga painter,in Kyoto.It
was in Kyoto that he established himself
as a top rated artist. He also studied the Southern Chinese
style. This resulted in a style which is typical for the Meiji
nanga style. He moved back to Osaka when he was 26, and
lived there for the rest of his life. He was very popular in the
Kansai area. During the late Edo and early Meiji
period he was considered one of the best landscape artists in
Japan, alongside Taizan (Hine Taizan, 1813-1870). His works are
in a number of private collections and museums, including the
Ashmolean.

One of his studnets
was Hata Kinseki (Hata Tatsu) who was born in Kyoto in 1856. He
was a nanga artist

Nanga Painter
from Kyoto and a student of Nakanishi Koseki (1807-1884)

Kano Seisenin Osanobu
(1796－1846)

Seisen Hogen

He was a
painter who inherited ninth gereration of Kobiki town Kano
school of the Edo latter period. He was born as the eldest
son of Isenin Naganobu (1774～1828) in Edo.He worked at 15
years old for the first time in Edo-jo Castle,it seems to have
been often forced government affairs in various ways by his
father.It is supposed that he died afterwards because he was
sickly by nater and fatigue by a series of hard work. He poured
great passion into copy,he also is known by left the manuscript
of the old painting, a sketch, a draft for painting on Japanese
screens production,and having had a record of the work called
"KOYO NIKKI / the public diary". He took pupils,they were
Kano Hogai (1828～1888) who was a Japanese painter of the
Meiji period and Hashimoto Gaho (1835～1908).

Kano Hisanobu (1695-1731)

Kano Hisanobu
was the 5th of Kobiki-cho Kanofamily. His father is Kano
Chikanobu. He learned the way of painting from his father
Chikanobu. Kano Eisenin Michinobu is his son.
His pseudonym is Eisen etc

Kano Eishin Yasunobu (1613-1685)

Yasunobu was the son of Kano
Takanobu, and Tanyu and Naonobu were his older brothers. It
didn't seem that he had a talent compare to other brothers.
Therefor he tried to work and study harder to be a better
painter and finally he got the rank of Hogen in 1662. Hanabusa
Iccho was his pupil.
His pseudonym is Bokushinsai, Eishin, etc

Kano
Doshun (1747~1797)

Kano Tsunenobu (1636-1713)

The painter who served Edo
Shogunate in first-term of Edo era.His father was "Kano Naonobu
(1607-1650)".There were his eldest son "Kano Chikanobu
(1660-1728)" who inherited his the headship of a family,second
son "Kano Minenobu (1662-1708) who oneself promoted "Hamamachi
Kano school"and "Kano Yoshinobu (?-1745) who inherited it of
Tsunenobu's children.After Tsunenobu's father Naonobu died in
1650,he inherited Kano school "Kibancho Kano school" at fifteen
years.He shaved his head the same year,called himself "Yoboku" ,
greeted "Tokugawa Iemitsu (1623-1651)",and served under
"Tokugawa Ietsuna (1641-1680)" afterward.He learned painting
from "Kano Tanyu (1602-1674)" other than his father,he was
assumed one of the four major painter of Kano school with "Kano
Motonobu (1476-1554)","Kano Eitoku (1543-1590)",and "Kano Tanyu
(1602-1674)",had been highly thought from ancient times.Besides
he strengthen a basics of prosperity of the Kano school,in
particlular,Kibancho Kano school,his the style of painting of
later years turned into a calm,delicate style.The painting
almost follows Kano Tanyu style and was lacking in strong
personality,but became a leading figure of Kano school after
Kano Tanyu died.
His pseudonym is Yoboku,Fujiwara,Tsunenobu,Ukon,Hogenyoboku,

Kano Tan'yu Morinobu (1602-1674)

Kano Tan'yu was one of the
foremost Japanese painters of the Kano school. His original
given name was Morinobu; he was the eldest son of Kano Takanobu
and grandson of Kano Eitoku. Many of the most famous and widely
known Kano works today are by Tan'yu.
In 1617, Tan'yu was appointed by the Tokugawa shogunate to
become one of the shogunate's official artists. Over the
following years, he was given many highly prestigious
commissions. Over the 1620s and '30s, he created a number of
large-scale works for Edo castle, Nijo castle, Osaka castle,
Nagoya castle, and Nikko Tosho-gu.
Prolific in a variety of painting styles, Tan'yu's most famous
works are probably those he produced for these large-scale
commissions. They are screens and panels, prime examples of the
Momoyama style, depicting natural subjects such as tigers, birds
and plants, in bright colors and with extensive use of gold
leaf. The gold, often used to represent clouds, water, or other
background elements, would reflect what little light was
available indoors, brightening a castle's dark rooms.
Tan'yu was also accomplished, however, in monochrome ink
painting based on the prototypical style of the Muromachi
period, yamato-e compositions in a style similar to that of the
Tosa school, and Chinese style scrolls. His most famous yamato-e
work is a narrative hand scroll depicting the life of Tokugawa
Ieyasu, the first Tokugawa shogun and major figure in Japanese
history. It was after this commission, in 1640, that the artist
first took on the "artist name" of Tan'yu.
In addition to being a highly honoured and respected painter in
his own right, Tan'yu was known as a collector and connoisseur
of Chinese paintings. He made sketches and kept records of many
of the paintings that passed through his studio, brought to him
for authentication.

He was a warrior and devotee of
tea ceremony in the Edo latter period. He became the 8th Ensyu
sect head. Hhis real name, Masamoto, nick name be Daizen. As a
devotee of the tea ceremony he was responsible for the revival
of the Kobori sect in the later part of the Edo period. He died
at 82 in 1867.

KANO SCHOOL NOTES AT BOTTOM OF PAGE. ARTISTS
ARE MARKED HERE BY THEIR FIRST NAME

Kanjo Adachi
(1864-1948)

Born in Kumamoto.
Given name is Kanzo. Son of Jihei Adachi, Samurai of the
Kumamoto Domain. Held ministerial posts before World War 2. Head
of the Kokumin Domei Party.

Watanabe
Kazan (1793-1841)

Watanabe Kazan
was born in Tokyo as the child of a Edo-Bakufu Soldier. He was
very poor in the cradle and he sold his painting to make money
for his family. He learned from Tani Buncho found his
reamarkable artistic talent developed well and his powerfull
connection made his conception better.
His paint of portrait had been very popular and he painted a
lot.
His portrait paintings were infuluenced by ways of Europe using
shading very well which was really impressive. Besides he's been
a paintinter, he was a traditionalist Confucian. His pseudonym
is Kazan and Toh

Kanpo Araki
(1831 - 1915)

Born in Edo.
Studied painting under Kankai Araki. Later, became his
adopted son. Enjoyed Yodo Yamanouchi (=Top of Tosa Domain)'s
favor and became an official painter of the domain. After the
Meiji Restoration, he became a teacher of the Tokyo School of
Fine Arts.

Born in Wakayama
Prefecture. His given name is Seizaburo. Studied painting under
Hogai Kano and Gaho Hashimoto. Graduated from the Tokyo School
of Fine Art. Participated in establishing the Japan Art
Institute with Taikan Yokoyama and Shunso Hishida. Teacher of
the Tokyo School of Fine Art.

Nakajima Kaho:1866-

Showa-
Late MEIJI to TAISHO period

Painter.Born in Kyoto,prefered to Maruyama Okyo style
drawing,and learned painting under Mori Kansai,and calligraphy
under Tomioka Tessai.Often exhibited Naikoku Kangyo Hakurankai
and the other exhibitions.Good at landscape and kachoga

Katsumi Aizu
(1903-1991)

Born in Fukushima
Prefecture. Graduated from the Kyoto School. Was accepted for
the Teiten Exhibition and Bunten Exhibition.

The fate of Takahashi Hiroaki was a rather
tragic one. When he was 52 years old, the fires after the great
Kanto earthquake in 1923 destroyed all 500 woodblock prints he
had created. And when he was 74 years old, he visited his
daughter in Hiroshima in the summer of 1945. Nobody saw him
again.

Takahashi Hiroaki Prints for Watanabe

The artist was born in Tokyo with the
given name of Takahashi Katsutaro. He was trained in Nihonga
- traditional Japanese painting - by his uncle Matsumoto Fuko.

From 1907 on Takahashi Hiroaki designed
large numbers of prints for Watanabe's print shop. He was one of
the first printmakers joining the artisan "pool" of

By 1923 he had produced a total of about
500 designs - mostly in Oban or smaller sizes. Then Japan
was hit by the

Great Kanto earthquake
in 1923 - the worst natural catastrophe in the history of Japan.
The earthquake and the fires that raged for three days, killed
140,000 people. Watanabe's print shop was completely destroyed -
and with it the
woodblocks of all 500 prints created
by Takahashi Hiroaki. Watanabe and his shin hanga
artists had to start from zero - all over again.

Takahashi Hiroaki created about 250 prints
after the Kanto earthquake. Most of his designs show scenic
Japanese landscapes in typical shin hanga style. He
continued to work for Watanabe. But he also published with Fusui
Gabo and Shobido Tanaka - probably because he was too much
limited in his artistic development by the excellent but rigid
businessman Watanabe.

Shotei, Hiroaki or Komei - Don't Get
Confused!

Hiroaki used a variety of names,
signatures and seals during his lifetime. From 1907 until 1922
he used the name Shotei and after 1922 Hiroaki or
Komei.

Hiroshima - August 6, 1945

Takahashi Hiroaki's daughter lived in
Hiroshima. According to Japanese sources, the aging artist had
visited his daughter during the summer of 1945. At 8:15 in the
morning of August 6, 1945, the Enola Gay, a Boeing B-29 bomber
dropped the first atomic bomb in the history of mankind over
Hiroshima. Takahashi Hiroaki, one of the greatest shin hanga
artists was never seen again.

Kayo Yamaguchi
(1899 - 1984)

Born in Kyoto.
His given name is Yonejiro. Studied painting under Goun Nishimura
from his childhood. Graduated from the Kyoto Municipal College
of Painting. Good at painting animals and flowers with realism.
Became a leading figure in Kyoto's art community after World War
2.

Gyokusetsu Kawabata (1880-?)

He was born in Tokyo in 1880. He was the child of artist
Gyokusyou Kawabata. His real name was Torazaburou. He became a
Kawabata picture school chief editor and lived in Tokyo

Kawabata Gyokusho (1842~1913)

Kawabata Gyokusho (April 18 1842- February 14, 1913)Kawabata Gyokusho (1842-1913) was born in Kyoto City
Takakura Nijo Kawaramachi on April 14, 1842 (The 13th year
of Tenpo) as Ryunosuke, the son of Kawabata Sahei a lacquer
artisan who did maki-e. He learned Chinese poetry from his
father and as well as the craft of maki-e. Around 1852 (the
fifth year of Kaei) Gyokusho learned Maruyama painting style
from Nakajima Raisho and learned Chinese and Japanese
philosophy, culture, and history as well as interpreting art
from Oda Kaisen. Gyokusho also studied Western
painting
in Tokyo under Charles Wirgman.

In 1866 (the second year of
Keio) Gyokusho moved to Edo and made a living making
kaleidoscopes and woodblock print fold outs for magazines and
learned Western style painting. Gyokusho at that time earns his
first award at the Naikoku kangyo Exhibiton under the naikoku
Kaiga kyoushinkai. His skills were admired by Okakura Tenshin
and he then asked Kawabata Gyokusho to become part of the
faculty at his school, the Tokyo Arts Academy (Now Tokyo
University of the Fine Arts) Kawabat Goykusho was to be a
professor and served from 1888 (21st year of Meiji) until 1912
(the 45th year of Meiji) a year before he died. Gyokusho
submitted art to the Nihon Kaiga kyoka who were a group who did
contemporary works as well as the Nihon Bijutsu Kyokai who were
mainly for the older styles. As being a central figure of the
older school group he was selected to paint the cedar doors of
the imperial palace in 1888. His works combine the Maruyama
school with Western realist styles and during his latter years
he experimented with Bunjin styles. In the latter part of the
19th century, Kawabata Gyokusho participated with the Imperial
Art board (Teishitsy gigei in) and in 1909 established his own
art school. In 1897 he became part of the board for the
historical preservation of temples and shrines as well as a
member who examines and appraises items to be selected to become
national treasures. He was known for his efforts in preserving
ancient art and had wide influence within artists circles.
Gyokusho was also known by his other names, Kyotei and
Sho-ou (his choice for Sho-ou, the character shou if
the sections of the character are separated is the same as
Gyokusho)and sometimes as Yu Zhang His son,
Kawabata Shigeaki was also an artist including Kawabata
Gyokusetsu (a member of the family) Shigeaki inherited the
school and became the second generation. His Grandson, Kawabata
Minoru was an artist specialising in oil paintings and was in
New York as a researcher, painter, and teacher at the New York
School for Social Research.

During his career, he won many prizes in domestic painting
competitions and exhibitions

Kumashiro Yuhi (1712-1772)

Kumashiro Yuhi was known as the only one pupil of
the Chinese Painter,Shen Nanpi(Shan Quan) and as his only Japanese
student. He spread the way of painting
of Shen Nanpi called Nanpin-ha from China to Japan influenced
Japanese painting history. At that time a Nanpi painting was
hard to get and Yuhi's painting were in great demand. Shiseki, Mori Ransai, Kakutei
became the pupisl of Yuhi.
His pseudonym is Shukou.

Shukoyuhi (signature) & Yuhi (seal).

Kobayashi Kokei (1883 - 1957)

Born in Niigata Prefecture.
His given name is Shigeru.
Studied painting under Kajita Hanko.
Participated in the Kohjikai with Imamura Shiko and Yasuda
Yukihiko.
In 1914, Kokei participated in the reconstruction of the Nihon
Bijutsu-In (The Japan Art Institute).
In 1944, he became a professor of the Tokyo Bijutsu Gakko (The
Tokyo School of Fine Arts).
In 1950, he was awarded the Order of Cultural Merit.

Keibun Matsumura
(1779 - 1843)

Born in Kyoto.
His given name is Naoharu, another pen name is Kakei.
Studied the Shijo-ha style painting under his great old brother,
Goshun.
Good at painting Flowers & Birds pictures.
Succeeded to his brother and led the prosperity of the Shijo
style painting school.

Kogyo Terasaki
(1866 - 1919)

Born in Dewa
(=Now Akita Pref.). Studied the Kano, the Shijyo and the Nanga
painting styles. Found the Japan Art Institute in cooperation
with Tenshin Okakura. Teacher of the Tokyo School of Fine Arts.

Kesui / Kisui, Suga 其翠 菅
(1830 - 1887)

Painted birds and
snow scenes

Murayama KokaActive early to mid 20th century.

Murayama Koka, circa1910 to 1950. Murayama was an "Imperial
Examiner of Art," and the recipient of many other honours as an
artist.

Keigetsu Matsubayashi (1876-1963)

Sanjin
KEIGETSU /Atsushi ITO

Keigetsu Matsubayashi is the Japanese painter who was born Hagi-shi,
Yamaguchi . The original family name, Ito, is his the real name,
it is 篤. The character is 子敬. It means: I am the scent of incense
outside, and also means a Tamae fisherman. Ito went to Tokyo in 1893
to study under Yukoku Noguchi and learned the southern school of Chinese
painting. This study helped him to explore the depth of his own
painting. After his teacher died in 1898, Ito was elevated to
a position of an influential person in the southern school of Chinese
painting which was very popular at this time.

The style of painting
steadily became more popular at the start of the Showa era and was the
style was practiced when Ink painting or sumi l was further
popularised by many artists. It is shown really well in a nice
peculiarity to the rendition of what is called the Katsura moon. The
diversity of the work of Keigetsu Matsubayashi can be found in private
collections and the National Gallery of Japan.

Keigetsu Matsubayashi
(1876-1963)
(The photograph is taken from the
directory of Japanese Painters

Bairei Kouno (1844-1895)

Yasuda

He was an artist of the Sijyou-Maruyama
sect. He was born in Kyoto. His last name Yasuda. He was part of
the Sijyou-Maruyama sect his teacher being Raisyou Nakajima and
learned landscape from Bunrin Shiokawa. After this he became the
teacher. Hi students included the genius Seihou Takeuchi, Houbun
Kikuchi, Gyokudo Kawai etc.

Kohkan Watanabe (1878-1938)

Kohhei.

He was born in Shiga Pref. Ootsu
on January 20 in Meiji 11 (1878). His real name was Kohhei. He
left Kyoto municipal arts and crafts school and became the
student of Sobun Morikawa in Meiji 28 (1895) he then learned the
Shijyo art of drawing. In Meiji 35 (1902) he studied without a
teacher after the death of the mentor. Thereafter he displayed
many works with the exhibition. He died in Kyoto on July 29 in
Showa 13 (1938). Age 60 years old.

Kigetsu Kita (1864-?)

His real name was Tsunetarou. He
was born in Okayama Pref. in 1864. He studied under Rogetsu
Nakagawa. At the end of his life he lived in Osaka.

Asano Kouzan

mid to late 20th century painter in Kyoto and Tokyo Member of
Shoufuukai society. Specialised in landscape paintings.

Kakei
pen name of
Keibun Matsumura (1779 - 1843)also known as Naoharu

Keibun Matsumura (1779 - 1843) Born in Kyoto.His
given name is Naoharu, another pen name is Kakei.Studied the
Shijo-ha style painting under his great old brother, Goshun.Good
at painting Flowers & Birds pictures.Succeeded to his brother
and led the prosperity of the Shijo style painting school.

Japanese painter. He was born in Tokyo and lived
in Osaka. His paintings were accepted for the art exhibition (Bunten).He
was a member of Taisho Bijutsu-kai. One of the Maruyama Okyo's
10 famous pupilsIn the service of Nishi Hongan-ji for which he
painted a series of screens

Kachoga
painter

L

Korin Ogata
(1658 - 1716)

Painter and
lacquer worker at the former or middle part of the Edo period.
Born in Kyoto. Second son of Soken Ogata. Kenzan is his younger
brother.
Learned painting technique from Soken Yamamoto. As he admired
Koetsu Honami and Sotatsu Tawaraya so that he intended to revive
their styles.
Established decorative and splendid expression world.

M

* see below

Masanobu Kano
(1434? - 1530?)

Painter at the
latter part of the Muromachi period. Patriarch of the Kano school.
Born in Izu District. Became an official painter for Ashikaga
Shogun family that was the leader of samurai during the
Muromachi period.
He Japanized Chinese painting style.

Maruyama Oshin (1790-1838)

Oshin was the grandson of Maruyama Okyo. He was
addapted by uncle Maruyama Ozui.He was good at SANSUI-GA, figure
painting, and flowers and birds painting.
His pseudonym is Seishukan and Hokon

* see below

Masunobu
Kano

(1625 - 1694)

Kano painter at
the middle part of the Edo period. His pen name is Tohun.
Real son of metal-carving craftsman Ritsujo Goto. Became
son-in-law of Tanyu Kano. He was conferred the "Hogen" rank by
Iemitsu Tokugawa, the 3rd Tycoon of Tokugawa Shogunate.
Patriarch of the Surugadai Kano school.

Matsubayashi, Keigetsu
(1876-1963)

See
Keigetsu

Momonoi Shunzo(1825 - 1885)Also known as: Momoi Seijo

Swordsman Momoi Shunzo was
Grandmaster of the Kyoshin Meichi Ryu Shigakukan Dojo, one of
the 'Three Great Kendo Dojo of Edo'. The other two were the
Hokushin Itto Ryu Gembukan headed by Chiba Shusaku, and the
Shindo Munen Ryu Renbeikan headed by Saito Yakuro. The saying in
those days was 'Technique: Chiba; Power: Saito; Bearing: Momoi'.

Keibun
Matsumura (1779 - 1843)also known as Naoharu and as Kakei

Keibun Matsumura (1779 - 1843) Born in Kyoto.His
given name is Naoharu, another pen name is Kakei.Studied the
Shijo-ha style painting under his great old brother, Goshun.Good
at painting Flowers & Birds pictures.Succeeded to his brother
and led the prosperity of the Shijo style painting school.

Tosa Mitsusada (1738-1806)：
Tosanomori Fujiwara Mitsusada.
Mitsusada was the second son of Tosa Mitsuyoshi.
The first son of Mitsuyoshi was Tosa Mitsuatsu.
He became Edokoro-Azukari (Chief of Edo Shognate Atelier)
with his brother.
His pseudonym was Enran.

N

Haruki
Nanko (1759-1839

Haruki Nanko (1759-1839 Nanko moved quickly through the ranks and in the 1830s he had
become Tani Bunchôs (1763-1840) equal . It had taken Nanko some
time to gain recognition in Edo because he spent many years
travelling to study Southern Chinese painting. But in the course
of his travels he gained many students. When he returned to Edo
he introduced this Southern painting style where all Nanga
painters in Edo still worked in the Northern style. His son
Nammei, (Haruki Nammei 1795-1878)was still very young at the
time during this rise in popularity but he became well known in
his own right.

Naoharu pen name of Keibun Matsumura
(1779 - 1843)also known as as Kakei

Keibun
Matsumura (1779 - 1843) Born in Kyoto.His given name is Naoharu,
another pen name was Kakei.Studied the Shijo-ha style painting
under his famous older brother, Goshun. Good at painting Flowers &
Birds pictures. Succeeded to his brother and led the prosperity
of the Shijo style painting school.

Nakabayashi Seishuku (1831-??)

Subject: Shikunshi

Nakabayashi Seishuku (1831-??)
She was a daughter of Nakabayshi Chikudo.She studied Bunjin-ga
under her father.Her forte was plum tree painting.She was born
in Kyoto.her real name was Kuniko.

Raisho Nakajima - 1796-1871

Raisho Nakajima was born in Otsu and was a pupil
of Watanabe Nangaku and later of Maruyama Ozui. He was a late
Edo exponent of the Maruyama manner. Kano Bairei and Kawabata
Gyokusho were his pupils.

Shintsudo, Shumbunsai, Toko (Haiku name) were
also used

Ōta Nampo
(大田 南畝)
(17491823)

His pennames also include Yomo no
Akara, Yomo Sanjin, Kyōkaen, and Shokusanjin (蜀山人).

Ōta Nampo
(大田 南畝)(17491823)was the most
oft-used penname of Ōta Tan, a late Edo period as the alternative westernized spelling Ōta Nanpo Japanese poet and fiction
writer. He wrote primarily in the comedic forms of
kyōshi, derived from comic Chinese verse, and kyōka,
derived from waka poetry. His pennames also include Yomo
no Akara, Yomo Sanjin, Kyōkaen, and Shokusanjin (蜀山人).
Born into a lower-status samurai family in Edo, Nampo
served the shogunate in various ways throughout his
life. He began his literary career as a student of
Chinese Ming Dynasty writings, and adapted traditional
Chinese comic verse (called kyōshi in Japanese), under
the mentorship of playwright Hiraga Gennai, to daily
life in Edo. His first collection of work was called
Neboke sensei bunshū, or the Literary Works of Master
Groggy.
Nampo soon began to write kyōka, comic waka verses, as
well. His popularity grew in the 1760s and 1770s, as a
result of his down-to-earth subject matter and unabashed
style. During this time he also wrote a number of works
of popular literature, and edited a collection of comic
verses called Manzai kyōkashū, which truly cemented his
position as a central literary figure of his time.
For political reasons, he was forced to abandon his
writings for a time in the 1780s. He committed himself
for several years to shogunal duties, but eventually
returned to poetry.
Nampo also collaborated with many different artists such
as Hokusai, Eishi, Hokuba, Sakai Hōitsu and many others.
Many paintings bears his original calligraphy and poem,
he also worked together with artists in making prints,
surimono and ehon. Nampo made calligrphies (calligraphy)
mainly in the tanzaku and kakemono format. He also
produced paintings; these are now extremely rare.
The most famous of Nampos paintings are in the album
Shokusanjin ennyo meisekishu (A collection of
Shokusanjin memorabilia)The album consists of 41 double
pages of letters, paintings, fan paintings, sketches,
and poems; ink and colour on paper and silk. The album
size is 15 x 9in. (40 x 24 cm.). Date;1804. All of the
works bears Nampos writing. Some works was coproduced
and inscribed by other gifted people. The inscribed
works includes examples by the kabuki actor Ichikawa
Danjūrō V, the geisha Katsu, the courtesan Nareginu, the
kyoka master Shikatsube Magao, the novelist Santō Kyōden,
and the kanshi (Chinese-style verse) poets Kikuchi Gozan
and Okubo Shibutsu.There are paintings by the ukiyo-e
artists Hokusai and Hokuba in the album.A further two
fan paintings, one with a Chinese-style landscape by
Haruki Nanmei (17951878) and a playful image of the
Chinese poet Li Bai in his cups by Unshitsu Dojin, shows
Shokusanjin's links to the more aloft of the literati
artists.
The album is a fascinating compendium of material
documenting the interaction between prominent members of
literary, theatre, and art circles of the day.
Shokusanjin as Nampo signs himself here produced two
small sketches which were mounted into the album. The
first sketch is of a Geisha and the other of an Oiran
(courtesan).
The album is in the Chiba Prefectural Museum of Art, ex.
provenance; Azabu Museum and Anders Rikardson
Collection.
In many reference works Ōta Nampos name is referenced

O

Okyo Maruyama
(1733 - 1795)

Father

Painter at the
latter part of the Edo period. Born in Tanba District.
Patriarch of the Maruyama school. He learned the idiom of the
Kano school at first.
Later, he established his own style by adopting Chinese painting
idioms and Western perspective drawing technique. Good at
painting animals and flowers.

Maruyama Ôzui
(1766-1829)

Son

Maruyama Ôzui
(1766-1829)
He was the eldest son and pupil of Maruyama Ôkyo, founder
of the leading Kyoto painting school. He adopted Ôshin,
son of his brother Ôju as his son. In the 1790s he was
commissioned to paint some of the fusuma (sliding doors)
for the restoration of the imperial palace in Kyoto. He
followed his father's style faithfully.

Maruyama Oshin (1790-1838)

Grandson

Oshin was the grandson of Maruyama Okyo. He was
adopted by uncle Maruyama Ozui. He was good at SANSUI-GA, figure
painting, and flowers and birds painting.
His pseudonym is Seishukan and Hokon

Ohara Donshu (大原呑舟
(17911857)

Ohara Donshu was born in Awa Province (Modern Tokushima
Prefecture).
He was the adopted son of Ohara Donkyo (大原呑響), and he studied
painting under Shibata Gito (柴田義董).
He was good at painting landscapes and figures. Ohara Donshu (Ohara
Kon)
was most active between the years 1811 and 1836. He died on the
29th of
December 1857. He was born in and resided in Kyoto. He was a
student of
the prominent Shijo school artist Shibata Gito (1780-1819). He
also studied
under his father Ohara Donkyo (died 1810) who was a self taught
painter in
the Nanga tradition. Donshu's works are held in the
British Museum and the Cleveland Museum of Art.

Born in Edo. At
first, he learned Western painting from Kenkichi Sakurai.
Later, he turned his painting style to Japanese. Learned
technique of the Yosai school from Fuko Matsumoto, and also
learned technique of the Maruyama school from Gyokusho Kawabata.
Good at painting Japanese beautiful girls.

Tanaka Raisho (1868-1940)

Tanaka Raisho (1868-1940) originally studied
under Mori Kansai whom he met by chance in his home prefecture
of Shimane. Later he moved to Tokyo to study under Kawabata
Gyokusho. He exhibited works at the national Bunten on 10
occasions between 1908 and 1918 and with the re-named Teiten on
six occasions between 1919 and 1926. He went on to become a
juror for the prestigious organization. See Roberts p.173.

Tanaka Raisho represent a tour de force by the
artist at the peak of his abilities. Raisho is well known for
his Shijo style landscapes in the manner of his highly esteemed
teacher Kawabata Gyokusho (1842-1913) who is widely recognized
as the last great representative of the Shijo school. Painted
purely with ink on a gold leaf ground, Raisho has used a
multitude of varying brushstrokes and washes to define the
landscape and impart depth. Like his teacher Gyokusho, Raisho
generally painted native Japanese landscapes, drawing
inspiration from his natural surroundings and the people who
inhabited it.

Tanaka Raisho first studied under Mori Kansai
(1814-1894) in Kyoto. After moving to Tokyo he studied under
Kawabata Gyokusho (1842-1913), a leading figure in Japanese
painting who perpetuated the Shijo style evoked in this painting
by his pupil.

Takahashi Hiroaki - 1871-1945

Also known as Komei and as Shotei

The fate of Takahashi Hiroaki was a rather
tragic one. When he was 52 years old, the fires after the great
Kanto earthquake in 1923 destroyed all 500 woodblock prints he
had created. And when he was 74 years old, he visited his
daughter in Hiroshima in the summer of 1945. Nobody saw him
again.

Takahashi Hiroaki Prints for Watanabe

The artist was born in Tokyo with the
given name of Takahashi Katsutaro. He was trained in Nihonga
- traditional Japanese painting - by his uncle Matsumoto Fuko.

From 1907 on Takahashi Hiroaki designed
large numbers of prints for Watanabe's print shop. He was one of
the first printmakers joining the artisan "pool" of

By 1923 he had produced a total of about
500 designs - mostly in Oban or smaller sizes. Then Japan
was hit by the

Great Kanto earthquake
in 1923 - the worst natural catastrophe in the history of Japan.
The earthquake and the fires that raged for three days, killed
140,000 people. Watanabe's print shop was completely destroyed -
and with it the
woodblocks of all 500 prints created
by Takahashi Hiroaki. Watanabe and his shin hanga
artists had to start from zero - all over again.

Takahashi Hiroaki created about 250 prints
after the Kanto earthquake. Most of his designs show scenic
Japanese landscapes in typical shin hanga style. He
continued to work for Watanabe. But he also published with Fusui
Gabo and Shobido Tanaka - probably because he was too much
limited in his artistic development by the excellent but rigid
businessman Watanabe.

Shotei, Hiroaki or Komei - Don't Get
Confused!

Hiroaki used a variety of names,
signatures and seals during his lifetime. From 1907 until 1922
he used the name Shotei and after 1922 Hiroaki or
Komei.

Hiroshima - August 6, 1945

Takahashi Hiroaki's daughter lived in
Hiroshima. According to Japanese sources, the aging artist had
visited his daughter during the summer of 1945. At 8:15 in the
morning of August 6, 1945, the Enola Gay, a Boeing B-29 bomber
dropped the first atomic bomb in the history of mankind over
Hiroshima. Takahashi Hiroaki, one of the greatest shin hanga
artists was never seen again.

Nagasawa Rosetsu
1754-1799

Rosetsu, Edo period, c. 1790. Nagasawa Rosetsu is celebrated as
one of the Three Kyoto Eccentrics noted for his daring
originality. His work reflects his uniquely rendered subjects
using a sublime economy of strokes featuring birds and animals
in lifelike and animated poses.He was one
of the best pupils of Maruyama Ōkyo[
who incorporated aspects of Western realism into Japanese
themes.In his work, which is reminiscent of earlier Zen
painting, while the moon is left white, the night sky,
mountains, and pine trees are depicted with gradations of India
ink.

Rai Sanyo
(1781 - 1832)

KISHI RENZAN (GAN) (1805-1859)

KISHI RENZAN
(GAN) (1805-1859)

Kishi Renzan was a painter who lived in Kyoto .
He was a pupil of his father-in-law Kishi Ganku by whom he was
adopted. Kishi Renzan specialized in landscapes and nature (
kacho-ga ) paintings. He was also known for his Tora-Tigers
which he liked to paint in swirling mist. In addition the artist
is known for the paintings of wild geese on the walls of the
Imperial Palace in Kyoto

S

Seison
Maeda

(1885 - 1977)

Born in Gifu
Prefecture. Entered the painting school of Hanko Kajita. Member
of the Imperial Art Academy. He was awarded the Order of
Cultural Merit.

Seppou

The pseudonym of Chikuha Otake

Chikuha Otake (1878-1936)

Chikuha Otake (1878-1936)
He was born in Niigata. He learned painting from Sasada Unseki
of Nanshu-ha he was given the pseudonym Chikuha. In 1891, he
moved to Toyama with his older brother and he made money by
painting illustration for newspapers or advertisement. His
younger brother got a prize of the book named Shokokumin, he
started to send illustration to this book. After he moved to
Tokyo and learned under Kawabata Gyokusho, he got prizes that
made his painting very popular.
His pseudonym is Seppou.

Takeuchi
Seiho (1864-1942)

Takeuchi Seiho
(1864-1942) was the pseudonym of a Japanese painter of the
nihonga genre, active from the Meiji through the
early Shōwa era. One of the founders of nihonga,
his works spanned half a century and he was regarded as master
of the prewar Kyoto circle of painters. His real name was
Takeuchi Tsunekichi.

Abe Shunpo (1877-1956) was born in Fukuoka. He
moved to Osaka at the age of 16 to begin training under the
tutelage of Fukada Chokujo. At 19 he moved to Kyoto to study
under Kikuchi Hobun. He went on to exhibit with the Nitten/Teiten
on countless occasions, eventually becoming a judge of the
prestigious organization. His work is held in the collection of
the National Museum of Modern Art, Tokyo.

Shotei
Takahashi Hiroaki - 1871-1945

Also known as Komei and as Shotei

The fate of Takahashi Hiroaki was a rather
tragic one. When he was 52 years old, the fires after the great
Kanto earthquake in 1923 destroyed all 500 woodblock prints he
had created. And when he was 74 years old, he visited his
daughter in Hiroshima in the summer of 1945. Nobody saw him
again.

Takahashi Hiroaki Prints for Watanabe

The artist was born in Tokyo with the
given name of Takahashi Katsutaro. He was trained in Nihonga
- traditional Japanese painting - by his uncle Matsumoto Fuko.

From 1907 on Takahashi Hiroaki designed
large numbers of prints for Watanabe's print shop. He was one of
the first printmakers joining the artisan "pool" of

By 1923 he had produced a total of about
500 designs - mostly in Oban or smaller sizes. Then Japan
was hit by the

Great Kanto earthquake
in 1923 - the worst natural catastrophe in the history of Japan.
The earthquake and the fires that raged for three days, killed
140,000 people. Watanabe's print shop was completely destroyed -
and with it the
woodblocks of all 500 prints created
by Takahashi Hiroaki. Watanabe and his shin hanga
artists had to start from zero - all over again.

Takahashi Hiroaki created about 250 prints
after the Kanto earthquake. Most of his designs show scenic
Japanese landscapes in typical shin hanga style. He
continued to work for Watanabe. But he also published with Fusui
Gabo and Shobido Tanaka - probably because he was too much
limited in his artistic development by the excellent but rigid
businessman Watanabe.

Shotei, Hiroaki or Komei - Don't Get
Confused!

Hiroaki used a variety of names,
signatures and seals during his lifetime. From 1907 until 1922
he used the name Shotei and after 1922 Hiroaki or
Komei.

Hiroshima - August 6, 1945

Takahashi Hiroaki's daughter lived in
Hiroshima. According to Japanese sources, the aging artist had
visited his daughter during the summer of 1945. At 8:15 in the
morning of August 6, 1945, the Enola Gay, a Boeing B-29 bomber
dropped the first atomic bomb in the history of mankind over
Hiroshima. Takahashi Hiroaki, one of the greatest shin hanga
artists was never seen again.

Yamakawa Shuho
1898

Shuho was born in Kyoto, 1898.
He moved into Tokyo at the age of three, and started his career
as painter at fifteen when he became a pupil of Ikegami Shuho.
The name of Shuho would have been granted by his master. He
later became a pupil of Kaburaki Kiyokata, and rapidly made
progress enough to be counted as one of three birds under
Kiyokata, along with Ito Shinsui and Terashima Shimei. It was
said that charms in the beauty Shuho depicted are its common
familiarity and purity.

In the art world, an artists ability and the market price
dont match sometimes. Although Shuho had an ability enough to
be told Shinsui in east, Shuho in west, his name didnt spread
much because of his young death.

Shukou also
Kumashiro Yuhi
(1712-1772) Listed under K

Shukou was the pseudonym of Kumashiro Yuhi
(1712-1772) Listed under K

Shunso Hishida
(1874 - 1911)

Born in Iida,
Nagano Pref. His given name is Mioji. Entered the Tokyo School
of Fine Arts and received lessons from Gaho Hashimoto. He took
part in the establishment of the Japan Art Institute with Taikan
Yokoyama. Shunso and Taikan and Kanzan and Buzan are called the
big four under Gaho Hashimoto's tuition.

Sanjin
Keigetsu

See Keigetsu

Sosen Mori
(1747 - 1821)

Painter at the
latter part of the Edo period. Born in Nagasaki. Studied the Kano
school technique from Josyunsai Yamamoto. Influenced by
Okyo Maruyama's realism. Good at painting animals especially
monkeys and deer.

Sasaki Senryu (1808-1884)

Sasaki Senryu was a Kano-ha
painter and a son of Sasaki Senkei.He was a personal painter of
Kaga clan. Sasaki Senryu learned painting from Kano Tansen at
first,next he learned painting from Kano Tanshin.Sasaki Senryu
was ordained as Hokyo in 1852

Suizan Miki
(1887 - 1957)

Born in Hyogo
Pref. His given name is Saiichiro. Studied painting under Seiho Takeuchi.
Won some prizes at the Bunten and the Teiten exhibitions.

Suiho

Artist working in the mid 20th
century

Sakai Hoitsu (1761-1829)

Hoitsu was born in Tokyo as a son of the Himeji
feudal lord. His older brother was famous of Japanese tea
ceremony person and Hoitsu also had been getting familier with
tea ceremony, haiku, and kyoka influenced by his brother, and
his talent was good enoght to be known. Hoitsu learned painted
from Kano Koshin and Soshiseki. 3 years later his brother died,
he became a priest and became a pupil of Ogata Korin (Rin-pa).
And he used the way and technique of painting from Maruyamashijo-ha,
Tosa-ha, Nanpin-ha, and from Ito Jakuchu. And finally he made
his own school as Edorin-pa. He was close to Tani Buncho, Ota
Nanbo and so many cultural people. In 1783, he became a pupil of
Utagawa Toyoharu and he learned the way of painting Ukiyoe.
His pseudonym is Kuzen, Oson, Keikendojin, Ukaan, Teibyoushi,
Meimeii,

Okajima
Seiko (1825～1877)

Okajima Seiko was a painter of Shijo-ha
(school),
he learned painting from Yokoyama Seiki and he was good at
flower & bird paintings

More on this
school of painting below

Sakai
Hoitsu (1761～1829)

Hoitsu was born in Tokyo as a son of the
Himeji feudal lord. His older brother was famous of Japanese
tea ceremony person and Hoitsu also had been getting
familier with tea ceremony, haiku, and kyoka influenced by
his brother, and his talent was good enoght to be known.
Hoitsu learned painted from Kano Koshin and Soshiseki. 3
years later his brother died, he became a priest and became
a pupil of Ogata Korin (Rin-pa). And he used the way and
technique of painting from Maruyamashijo-ha, Tosa-ha, Nanpin-ha,
and from Ito Jakuchu. And finally he made his own school as
Edorin-pa. He was close to Tani Buncho, Ota Nanbo and so
many cultural people. In 1783, he became a pupil of Utagawa
Toyoharu and he learned the way of painting Ukiyoe.
His pseudonym is Kuzen, Oson, Keikendojin, Ukaan, Teibyoushi,
Meimeii, etc

Seisho
Period 1770 to 1840

Shijo painter pupil of Shibata Gito

Suisen Inoue Shujo

1941-

Orchid and Flower Painter

1941 Inoue Shujo was born in Fukuoka Prefecture.
1961 entered the Japanese painting department of the Tokyo National
University of Fine Arts and Music.
1967 completed his graduate studies at the Tokyo National University of
Fine Arts and Music.
He was appointed to the Inyu of the Japan Art Institute.
1983-1987 He took office as the managing director of the Nichifuten.

Suzuki Yasuyuki
1911-1980

Uemura Shoen

1875-1949

Uemura Shoen was born in Kyoto. Her true name is Tsune. Her father died
two months ago when she was born. Her family business was a buckwheat noodle
shop, and her mother brought her up alone. She liked paintings very much
since she was a child, Graduated from an elementary school, then
she entered the first Japanese painting school in Kyoto. However, she
thought it was more beneficial becoming a pupil of an honourable master
than studying in the school given priority to a curriculum, and so she
withdrew from school and became a pupil of Suzuki Shonen in 1888. She
advanced remarkably, she was given a name "Shoen". Her family and
her circle of friends often criticised her such way of life. It was a
better
virtue for a woman to marry and protect her home in the world of the Meiji
era, as it was to be an object of slander to receive education and to
learn a painting. In 1890, "Shiki bijin-zu" which she exhibited at the
third Naikoku Kangyo Hakurankai exhibition a purchase was made by Imperial
Highness Prince of Wales Connaught, she received a honourable mention and
people said there is a genius girl painter in Kyoto. She changed her master
in sequence, so that she could learn a new painting technique. She
became a pupil of Takeuchi
Seiho who was the central figure of the Kyoto painting circles when
she was at 20 years old. She became pregnant at 27 years old. The
partner is called the first teacher Suzuki Shonen, but Shoen did not
talk about most because of he had a family. She chose the way of single
mother and gave birth to her first son Uemura
Shoko while bearing the cold eyes of the world. He grew up and became a
painter and was given the
Order of Culture. The private life was hard in any kind of situation,
but she did not neglect the study of the painting from an early morning.
Her technique of painting was advancing by quantum leaps, and her
artworks were and still are highly estimated at the exhibitions of her
and her contemporaries work. As she
was active intensely, she was an object of envy and hatred to many male
painters. It was so terrible as to write later that it was like a bloody
battle in the same way as an officer of the battlefield. She continued grasping a
paintbrush in the conservative Japanese
painting circles that still avoided the advance in society of any woman.
A terrible incident occurred in 1904. Her artwork at exhibition was
scribbled. It is said that she said to the staff, "Please continue
exhibiting it. Let's show the reality". She was small, but her spiritual
strength seemed to be steel. The women that were painted by her made all
dignified and rose in dignity, and the style of painting was grand. At
the Bunten exhibition which was founded in 1907, she was selected and
awarded every time. She was appointed to the judge of the Teiten,
Shinbunten and
Nitten, and she also exhibited at The New York International
Exhibition.

She fought against the social prejudice bravely, however, she broke up
with her younger lover in her forties, and she was in a slump. As a
result she gave birth to the problematic artwork "Hono (flame)". It was
the world of the grudge of the woman which was painted by her who
continued drawing a clean painting of beauties. She said later, "I can
not understand myself why I painted such a ferocious painting", and she
did not exhibit at all for three years afterwards. However,
ironically, she had gained a more reputation for this artwork. The
painters who denied her till then were frightened at her terrible
emotion.

In 1934, her mother who had supported her for all the time died. Two
years later, she completed her best artwork "Jo
No Mai". It was the ideal image of woman which was painted by woman.
She was given
the
Order of Culture the first as a woman in 1948, and the next year she
died at 74 years old. It is said that "No Shoen before Shoen, no Shoen
after Shoen" in the modern painting circles in Japan.

She said "I think I have survived only with anger, and I think also
I have lived to paint".

1875 Uemura Shoen was born in Kyoto. Her true
name is Tsune.

1887 She entered the "Kyoto-fu Gagakko (existing Kyoto City Dohda
Senior High School of Arts)".
1888 became the pupil of Suzuki Shonen.
1895 became the pupil of Kono Bairei.
1895 became the pupil of Takeuchi Seiho.
1900 exhibited at the 9th "Nihon Kaiga Kyokai and Nihon Bijutsuin Rengou
Kyoshinkai", and she was given the silver medal, and achieved eminence
in the painting circle in Japan.
1902 She bore the eldest son, Uemura Shoko.
1916 exhibited "Gesshoku No Yoi" at the 10th "Bunten (existing Nitten)".
1940 exhibited "Tsuzumi No Ne" at The New York International Exhibition.
1941was appointed to the member of the "Teikoku Bijutsuin (existing
Nitten)".
1946 was appointed to the judge of the "Shinbunten (existing Nitten)".
1948 was given the Order of Culture the first as a woman.
1949 She passed away in August at 74 years old.

Suzuki Shonen (1849-1918)
鈴木松年

Suzuki Shonen
1849-1918,
was born inKyoto
as son of Suzuki Hyakunen (1825-1891) who established his
own style of painting without adhering to any of the established
styles such as the Shijo-Maruyama, Nanga or Kano
schools. Shônen is considered the best student of
Hyakunen's, and was known for his bold and dramatic
brushstrokes. After he
established his own style of
painting without adhering to any of the established styles such
as the Shijo-Maruyama, nanga or Kano schools. Shonen is
considered the best student of Hyakunen's, and was known for his
bold and dramatic brushstrokes. Shōnen never worked from
preliminary sketches (shita-e), but painted quickly and
directly, in a bold, individual style. Considering his highly
individualistic nature it is not surprising he made a private
study of western painting methods.
Some of his best-known subjects are: landscapes, kacho-e, pine
trees, and some traditional and Buddhist subjects.
From 1881 to 1888 Shônen was the head of the Northern Division
(ink painting in the Sesshu tradition) of the Kyoto Prefecture
Painting School (other divisions were: South - nanga school;
East - Shijô-Maruyama school; and West - Western style
painting).
Shonen appears to have been satisfied with cultivating his own
art on the eve of sweeping modernisation in Japanese painting,
which, in Kyoto, was led by Takeuchi Seiho, a pupil of Shonen's
rival and a Shijô artist Kono Bairei.
Thus his name is less often associated with the modern movements
of Japanese painting than with Uemura Shoen, one of his most
talented students and the most prominent female painter of the
Meiji period. Other well known pupils were Shoshu Saito and
Kimura Konen

Uemura Shoko

1902-2001

1902 Uemura Shoko was born in Kyoto as a son of the Japanese
painter Uemura Shoen.
1915 He entered "Kyoto-shi Bijutsu Kougei Gakko (existing Kyoto
City Dohda Senior High School of Arts)".
1921 He entered "Kyoto-shiritsu Kaiga Senmon Gakko (existing
Kyoto City University of Arts)".
He became the pupil of Nishiyama Suisho, and entered the private
school of painting, "Shoko-sha".
1930 took office the teacher of the "Kyoto-shi Bijutsu Kougei
Gakko (existing Kyoto City Dohda Senior High School of Arts)".
1936 took office the assistant professor of the "Kyoto-shiritsu
Kaiga Senmon Gakko (existing Kyoto City University of Arts)".
1937 exhibited "Boshi no Hitsuji (mother and child of sheep)"at
the first "Shinbunten (existing Nitten)".
1941 was appointed to the judge of the third "Nitten".
1948 established the painting circle of the Japanese painter, "Souzou
Bijutsu" with Akino Fuku, Yamamoto Kyujin, etc.
1949 took office the professor of the "Kyoto-shiritsu Bijutsu
Senmon Gakko (existing Kyoto City University of Arts)".
His mother Uemura Shoen passed away.
1953 took office the professor of the Kyoto City University of
Arts.
1959 was given the "Geijutsu senshou Monbudaijin Shou".
1968 took office the honorary professor of the Kyoto City
University of Arts.
1973 He was given the Orders of the Sacred treasure.
1981 was appointed to the member of the Japan Art Academy.
1983 was selected to the Person of Cultural Merits.
1984 was given the Order of Culture.
1993 "The wind and the bird Uemura Shoko and Atsushi Exhibition"
opened in Paris.
2001 Uemura Shoko passed away at 98 years old.

Chigusa Sôun (1873-1944)

Sosui Tanaka (1898-1981)

See Tanaka Sosui below

Momonoi Shunzo(1825 - 1885) Also known as: Momoi Seijo

Swordsman Momoi Shunzo was
Grandmaster of the Kyoshin Meichi Ryu Shigakukan Dojo, one of
the 'Three Great Kendo Dojo of Edo'. The other two were the
Hokushin Itto Ryu Gembukan headed by Chiba Shusaku, and the
Shindo Munen Ryu Renbeikan headed by Saito Yakuro. The saying in
those days was 'Technique: Chiba; Power: Saito; Bearing: Momoi'.

Moriue Seisui (act 20th century)
He was born in Osaka.Suzuki Kason was one of his pupil.

Yamamoto Shunkyo
1871-1933

Yamamoto Shunkyo 1871-1933Born in Shiga-ken and lived in Kyoto.
Pupil of Kono Barei.Nomura Bunkyo and Mori Kansai. Professor at
the Kyoto College of Fine Arts and exhibitor with the Buntsen.
One of the founders of the modern Kyoto School; a great figure
in Kyoto art circles. Member of the Imperial Art Committee and
of the Teikoku Bijutsuin. His style at first was that of the
Shijo school but became more eclectic, painting landscapes with
considerable western influences hence the work of his students
would sometimes reflect that as in this scroll by Tosen.
Shunkyo's subjects included Buddhist themes. Collections are in
the Kyoto Museums,. Tokyo Museum etc.

Katsukawa Shunzan

(1700
-1800 )

Born in Hakodate of Hokkaido.
Went to Kyoto and studied painting under Shunzan Kitakami, his
uncle.
Later, studied painting under Seiho Takeuchi.
Was accepted for the Bunten Exhibitions and Teiten Exhibitions
several times.

He
was born in Oita prefecture.He was a son of feudal
soldier,Yamada Shukei. Shuhei studied painting under
Himejima Chikugai.He lived and painted in Osaka

Suzuki Shonen
(1849-1918)

Suzuki Shonen
was born inKyoto
as son of Suzuki Hyakunen (1825-1891) who established his
own style of painting without adhering to any of the established
styles such as the Shijo-Maruyama, Nanga or Kano
schools. Shônen is considered the best student of
Hyakunen's, and was known for his bold and dramatic
brushstrokes. After he
established his own style of
painting without adhering to any of the established styles such
as the Shijo-Maruyama, nanga or Kano schools. Shonen is
considered the best student of Hyakunen's, and was known for his
bold and dramatic brushstrokes. Shōnen never worked from
preliminary sketches (shita-e), but painted quickly and
directly, in a bold, individual style. Considering his highly
individualistic nature it is not surprising he made a private
study of western painting methods.
Some of his best-known subjects are: landscapes, kacho-e, pine
trees, and some traditional and Buddhist subjects.
From 1881 to 1888 Shônen was the head of the Northern Division
(ink painting in the Sesshu tradition) of the Kyoto Prefecture
Painting School (other divisions were: South - nanga school;
East - Shijô-Maruyama school; and West - Western style
painting).
Shonen appears to have been satisfied with cultivating his own
art on the eve of sweeping modernisation in Japanese painting,
which, in Kyoto, was led by Takeuchi Seiho, a pupil of Shonen's
rival and a Shijô artist Kono Bairei.
Thus his name is less often associated with the modern movements
of Japanese painting than with Uemura Shoen, one of his most
talented students and the most prominent female painter of the
Meiji period. Other well known pupils were Shoshu Saito and
Kimura Konen

Senrei Okumura

Senrei Okumura-Circa 1860 to 1920

Shoto

Shibata
Gitō (1780-1819)

Gito Shibata,
白川芝山.was
the teacher of Seisho

Shibata Gitô was born in Bizen
and moved to Kyoto, where he became a student of
Matsumura Go shun (1752-1811), the founder of the Shijô
school of painting. Soon he became an important member
of this school, specializing in landscapes and
kachôga. His early death prevented him from becoming
more widely known and from becoming as famous as
Matsumura Keibun and Okamoto Toyohiko, the other two
most prominent members of the Shijô school. He also
painted in the style of the Maruyama-Shijō school, whose
founder Maruyama ōkyo (1737-95) had developed a new,
naturalistic style to depict, among many other subjects,
genre scenes of the urban life of Kyoto. Shibata Gitō
(1780-1819) was a pupil of ōkyo's contemporary Go Shun
(1752-1811). He died young and his works, characterized
by fine brushwork and a light-hearted charm, are
relatively rare.

Sadakata (Sakata?) Kaiseki
(1882-1943?)

Sadakata (Sakata?) Kaiseki (1882-1943?)

Born in Okayama prefecture and educated at Kansai Gakuin University.
Studied under Kyose Shoseki and becomes his son-in-law. He went abroad
to France and entered the Salon d'automne exhibitionwhere
established artists such asPierre-Auguste
Renoirthrew
their support behind this exhibition and evenAuguste
Rodindisplayed
several drawings. Since its inception, the greats and future greats of
the art world such asPaul
Cézanne,Henri
Matisse,Paul
GauguinandPablo
Picassohave
been shown here. An obvious magnet for young artists from around the
world including Japan

Later in life he createdhanga
or woodblock prints. Not much of his life is recorded and is thought to
have passed away after 1933.However,Kaisekididchange
his artist name 3 times and the painting
shown here dates from the 1930s when
Kaiseki was living in Tokyo's Bunkyo ward until when he moved back to
Okayama during the war.
We do not have anything recordd after 1943 so we can only assume
that he died around that period. During his life Kaiseki was known to have favoured
painting Fuji-san (Mt.
Fuji) many times During the years when he used the name

Youkei,Mt. Fuji was centre to his paintings and used more
Fuji-san Sansui-ga, landscapes,
compared to his earlier works where there were more genre paintings with
Mt. Fuji as the background.

T

Mitsuoki Tosa
(1617 - 1691)

Painter at the
former part of the Edo period. Born in Sakai of Izumi. Son of Mitsunori.
Became a official painter for the Imperial Court in 1654.
Revived the Tosa school.

Tanaka Sosui(1898-1981)

He was born in Gifu prefecture and studied painting under
Nishio Soko.

Sosui was known for his love of Haiku and he was
a antique collector of Japanese sword furniture( Katana, Menuki
& Tsuba, and had amassed a collection of Japanese arrowheads).

Taigen Koji Painted c 1930

(also known as Nobuyoshi Nobutada / Etsuji Sanjin)

Taikan YokoYama
(1868 - 1958)

Born in Mito
District of Ibaraki Pref. His given name is Hidemaro. Entered
the Tokyo School of Arts and studied under Tenshin Okakura and
Gaho Hashimoto.
Helped Okakura found the Japan Art Institute in cooperation with
Shunso Hishida and Kanzan Shimomura. He kept innovating Japanese
arts throughout the Meiji and Taisho and Showa eras. Received
the Order of Cultural Merit and others.

1868 On September 18, Yokoyama
Taikan was born in Mito city, Ibaragi Prefecture.
1889 entered Tokyo School of Fine Arts (existing Tokyo National
University of Fine Arts and Music).
1893 graduated from Tokyo School of Fine Arts.
1895 took office to a teacher of Kyoto-shi Bijutsu Kougei Gakko
(existing Kyoto City Dohda Senior High School of Arts).
1896 He was appointed to the assistant professor of Tokyo School
of Fine Arts.
1898 took part in the establishment of the Nihon-Bijutsuin, and
took office to the councilor of it.
1907 The "Monbusho Bijutsu Tenrankai" was established, and
Yokoyama Taikan was appointed to the judge of it. He exhibited
at the 1st "Bunten" exhibition.
1914 Yokoyama Taikan, Shimomura Kanzan and others restored the
Nihon Bijutsuin.
1928 exhibited "Tachiaoi" at the 15th Inten exhibition, and he
presented it to Mussolini, the prime minister later.
1935 was appointed to a member of the Shin-teikoku Bijutsuin.
1937 was given the 1st Order of Culture with Takeuchi Seiho and
others.
1949 He offered his resignation to the Nihon Geijutsuin because
of his age.
1958 On February 26, Yokoyama Taikan passed away at 89 years
old, and he was awarded the Order of the Rising Sun.

Tanomura Chokunyu (1814-1907)

born in Oita and learned under Tanomura Chikuden

Tanyu Kano
(1602 - 1674)

Painter at the
former part of the Edo period. Son of Takanobu. Elder brother of
Naonobu and Yasunobu. Brought a breath of fresh air to the Kano
school.
Patriarch of the Kajibashi Kano school.

Kanō Tan'yū (狩野 探幽?, 4 March 1602 - 4 November 1674) was
one of the foremost Japanese painters of the Kanō school. His original
given name was Morinobu; he was the eldest son of Kanō Takanobu and
grandson of Kanō Eitoku. Many of the most famous and widely known Kanō
works today are by Tan'yū.

In 1617, Tan'yū was appointed by the Tokugawa shogunate to become one of
the shogunate's official artists. Over the following years, he was given
many highly prestigious commissions. Over the 1620s and '30s, he created
a number of large-scale works for Edo Castle, Nijō Castle, Osaka Castle,
Nagoya Castle, and Nikkō Tōshō-gū.

Prolific in a variety of painting styles, Tan'yū's most famous works are
probably those he produced for these large-scale commissions. They are
screens and panels, prime examples of the Momoyama style, depicting
natural subjects such as tigers, birds and plants, in bright colors and
with extensive use of gold leaf. The gold, often used to represent
clouds, water, or other background elements, would reflect what little
light was available indoors, brightening a castle's dark rooms.

Tan'yū was also accomplished, however, in monochrome ink painting based
on the prototypical style of the Muromachi period, yamato-e compositions
in a style similar to that of the Tosa school, and Chinese style
scrolls. His most famous yamato-e work is a narrative handscroll
depicting the life of Tokugawa Ieyasu, the first Tokugawa shogun and
major figure in Japanese history. It was after this commission, in 1640,
that the artist first took on the "artist name" of Tan'yū.

In addition to being a highly honored and respected painter in his own
right, Tan'yū was known as a collector and connoisseur of Chinese
paintings. He made sketches and kept records of many of the paintings
that passed through his studio, brought to him for authentication.

Takahashi Hiroaki
- 1871-1945 also known
as Shotei and Komei

The fate of Takahashi Hiroaki was a rather
tragic one. When he was 52 years old, the fires after the great
Kanto earthquake in 1923 destroyed all 500 woodblock prints he
had created. And when he was 74 years old, he visited his
daughter in Hiroshima in the summer of 1945. Nobody saw him
again.

Takahashi Hiroaki Prints for Watanabe

The artist was born in Tokyo with the
given name of Takahashi Katsutaro. He was trained in Nihonga
- traditional Japanese painting - by his uncle Matsumoto Fuko.

From 1907 on Takahashi Hiroaki designed
large numbers of prints for Watanabe's print shop. He was one of
the first printmakers joining the artisan "pool" of

By 1923 he had produced a total of about
500 designs - mostly in Oban or smaller sizes. Then Japan
was hit by the

Great Kanto earthquake
in 1923 - the worst natural catastrophe in the history of Japan.
The earthquake and the fires that raged for three days, killed
140,000 people. Watanabe's print shop was completely destroyed -
and with it the
woodblocks of all 500 prints created
by Takahashi Hiroaki. Watanabe and his shin hanga
artists had to start from zero - all over again.

Takahashi Hiroaki created about 250 prints
after the Kanto earthquake. Most of his designs show scenic
Japanese landscapes in typical shin hanga style. He
continued to work for Watanabe. But he also published with Fusui
Gabo and Shobido Tanaka - probably because he was too much
limited in his artistic development by the excellent but rigid
businessman Watanabe.

Shotei, Hiroaki or Komei - Don't Get
Confused!

Hiroaki used a variety of names,
signatures and seals during his lifetime. From 1907 until 1922
he used the name Shotei and after 1922 Hiroaki or
Komei.

Hiroshima - August 6, 1945

Takahashi Hiroaki's daughter lived in
Hiroshima. According to Japanese sources, the aging artist had
visited his daughter during the summer of 1945. At 8:15 in the
morning of August 6, 1945, the Enola Gay, a Boeing B-29 bomber
dropped the first atomic bomb in the history of mankind over
Hiroshima. Takahashi Hiroaki, one of the greatest shin hanga
artists was never seen again.

Tessai Tomioka
(1836 - 1924)

Nanga painter.
Born in Kyoto. Learned Japanese classical literature and Chinese
classics. Came to be lodged with the poet and nun Rengetsu
Otagaki.
Interacted with Imperial loyalists in the last days of the
Tokugawa shogunate.
After the Meiji Restoration, served as a Shinto priest at
several different shrines. Founded the Southern School of
Chinese Painting Asscociation of Japan (Nihon Nanga Kyokai) with
Chokunyu Tanomura and the others.

Tanaka Raisho (1868-1940)

Tanaka Raisho (1868-1940) originally studied
under Mori Kansai whom he met by chance in his home prefecture
of Shimane. Later he moved to Tokyo to study under Kawabata
Gyokusho. He exhibited works at the national Bunten on 10
occasions between 1908 and 1918 and with the re-named Teiten on
six occasions between 1919 and 1926. He went on to become a
juror for the prestigious organization. See Roberts p.173.

Tanaka Raisho represent a tour de force by the
artist at the peak of his abilities. Raisho is well known for
his Shijo style landscapes in the manner of his highly esteemed
teacher Kawabata Gyokusho (1842-1913) who is widely recognized
as the last great representative of the Shijo school. Painted
purely with ink on a gold leaf ground, Raisho has used a
multitude of varying brushstrokes and washes to define the
landscape and impart depth. Like his teacher Gyokusho, Raisho
generally painted native Japanese landscapes, drawing
inspiration from his natural surroundings and the people who
inhabited it.

Tanaka Raisho first studied under Mori Kansai
(1814-1894) in Kyoto. After moving to Tokyo he studied under
Kawabata Gyokusho (1842-1913), a leading figure in Japanese
painting who perpetuated the Shijo style evoked in this painting
by his pupil.

Tozan

Lived in Kyoto, he studied under the Rinzai
master ENNI Ben´en

Tozan Tansho and
his friend Haku'un Egyo, both students of the teachings
of ENNI Ben´en. These Masters brought a significant impurity
from the Shingon into practice such as Gikai.

Enni Ben'en
(圓爾辯圓; 1202-1280) was a Japanese Buddhist monk who
studied various forms of Mahayana under the Rinzai
teacher Wuzhun Shifan in China. When he returned to
Japan, he founded Tōfuku-ji monastery in Kyoto, and
practiced zazen as well as other types of Buddhism..It
is believed that he was the first to bring udon noodles
to Japan from China

Kabata Tosen (act:20th century)

Kabata Tosen (act:20th century)

He studied
under Yamamoto Shunkyo.His paintings were accepted for the art
exhibition(Nitten,Bunten).
He lived in Kyoto.

Muromachi Suiboku painter. Son of
Shigekane Taki, a vassal of Lord Shimazu in Satsuma Province. In
1462 took Buddhust vows and became a pupil of Sessyu, living in
Yamaguchi. In 1492 called back to Satsuma by Lord Shimazu and
lived at the Fukusho-ji. Said to have accompanied Sessyu to
China. His style very close to that of Sessyu, but his brushwork
less powerful.

Nishikawa Torei
(1865-1900 c)

Born
in Kyoto. He was a Talented painter who studied under Kono Bairei, He was a superb artist but he
died around age 40 in the Taisho period.

This extract was taken from: ON THE LAWS OF JAPANESE
PAINTING AN INTRODUCTION TO THE STUDY OF THE ART OF
JAPAN BY HENRY P BOWIE WITH PREFATORY REMARKS BY IWAYA
SAZANAMI AND HIRAI KINZA -Paul Elder and Co 1911.
(Please note that original 'first editions' are
available from Tokonomascrolls.com)

The city of Kyoto has always been a hotbed of Japanese
art. At that time the great artist Ko No Bairei, was
still living there, and one of his distinguished pupils,
Torei Nishigawa, was highly recommended as an artist.
Bairei had declared Torei's ability was so great that at
the age of eighteen he had
learned all he could teach
him. Torei was now over thirty years of age and a
perfect style of his own, overflowing with skill,
learning, and humour.

Tsunetomi Kitano
(1880 - 1947)

Born in Ishikawa
Pref. His given name is Tomitaro. Moved to Osaka and learned Ukiyo-e
technique of the Utagawa school from Toshitsune Inano. Became
a leading figure in Kyoto's art community for painting beautiful
girls.

He often made illustrations for
books and magazines. The following is from a novel called the
White Kannon.This
is a novel about a young woman named Teru and an artist named
Michikage.
Because of the differences between their fathers the young
couple cannot marry.
In time Teru, like the merciful Kannon, devotes her life to
helping others who were unjustly treated by her father. The
artist in the picture is what is believed to be a self Portrait
.

Takeuchi Keishu 武内桂舟 (1861-1943)

Given
name:
Takeuchi
Ginpei.
Born
in
the
Akasaka
district
in
Edo,
he
was
the
second
son
of a
retainer
of
the
Kishu
daimyo.
The
name
Keishu
was
given
to
him
by
Keika-en
Keika,
a
haiku
poet
and
friend
of
his
father.
He
received
no
formal
education.
He
is
primarily
known
as
an
illustrator.

Keishu
was
adopted
into
the
family
of
Kano
Eitoku
(1814-1891),
who
was
head
of
the
prestigious
Nakabashi
Kano
lineage.
But,
because
of
the
chaos
in
the
country,
there
was
no
work
for
Kano1
painters
so
Keishu
worked
as a
porcelain
painter
while
studying
Kano.
After
the
suicide
of
his
elder
brother
in
1879
or
1880,
he
returned
to
his
father's
house
and
abandoned
the
Kano
style.
After
a
disagreement
about
quality,
Keishu
switched
from
porcelain
painting
to
making
hanshita
(drawing
the
black
line
images
to
be
used
for
the
keyblocks
for
woodblock
prints.)

At
some
point
he
studied
drawing
under
Masanobu
Karino
and
Yoshitoshi
Tsukioka
(1839-1892).

It
is
not
known
when
Keishu
began
illustration.
According
to
Keishu,
his
early
years
as a
hanshita
artist
paid
little
and
he
was
often
hard-pressed
for
basic
necessities.
When
his
son
mentioned
a
desire
to
become
a
painter,
Keishu
responded,
"If
you
are
able
to
live
on
air
and
water,
you
may
become
an
artist."

In 1887, he joined the writing society Kenyūsha (Friends of the Inkstone - a literary coterie founded in 1885 by a group of Tokyo University students) and designed kuchi-e (woodblock-printed frontispiece illustrations produced for publication in Japanese novels and literary magazines) and sashi-e (illustrations in books, magazines, and newspapers) for the novels of many of its members including its leader Ozaki Koyo (1868-1903). He became the art editor for the Bungei Kurabu literary magazine and contributed some sixty-five kuchi-e, several of which are part of this collection.

Takeuchi was such a good friend of Ozaki Koyo that he drew the illustrations for Ozakis outstanding work, Konjiki Yasha (The Golden Demon), and he frequented the exclusive restaurant Koyokan in Shiba Park with the inner group members of Kenyūsha, Sazanami Iwaya, Shian Ishihashi, Bizan Kawakami (1869-1908), and Ozaki Koyo, who claimed that Koyokan was the best place to observe women. The progressive atmosphere of Koyokan, which was built in 1881 by
the
first
president
of
the
Yomiuri
shimbunnewspaper,
Takashi
Koyasu,
perfectly
matched
the
ethos
of a
group
of
young
writers
and
artists,
the
Kenyūsha.

U

Uemura Shoen (1875 - 1949)

Akamatsu
Unrei (1892-1958)

赤松 雲嶺

Unrei, Akamatsu 雲嶺 赤松 (1892 - 1958)

Akamatsu Unrei was born in Osaka in 1892.
His real name was Yoshisuke.
He studied painting with Unsen Koyama and Tikugai Fujii and
later with the famous nanga painter Himejima Chikugai
(1840-1928).
At a relatively young age he already proved a true master of
nanga, surpassing the talents of his teachers and finding a
new, personal way of looking at nanga. His paintings were
often exhibited with the Bunten, Teiten and Nitten and he was a
member of the Nihon Nanga-in.
He died in 1958 at the age of 65

V

W

Watanabe Kazan (1793-1841)

Watanabe Kazan was born in Tokyo as the child of a Edo-Bakufu
Soldier. He was very poor in the cradle and he sold his painting
to make money for his family. He learned from Tani Buncho found
his remarkable artistic talent developed well and his powerful
connection made his conception better.
His paint of portrait had been very popular and he painted a
lot.
His portrait paintings were infuluenced by ways of Europe using
shading very well which was really impressive. Besides he's been
a paintinter, he was a traditionalist Confucian. His pseudonym
is Kazan and Toh

Kohkan Watanabe (1878-1938)

Kohhei.

He was born in Shiga Pref. Ootsu on January 20
in Meiji 11 (1878). His real name was Kohhei. He left
Kyoto municipal arts and crafts school and became the student of
Sobun Morikawa in Meiji 28 (1895) he then learned the Shijyo art
of drawing. In Meiji 35 (1902) he studied without a teacher
after the death of the mentor. Thereafter he displayed many
works with the exhibition. He died in Kyoto on July 29 in Showa
13 (1938). Age 60 years old.

Watanabe Seitei (1852 - 1918)

Y

Yasunobu Kano
(1613 - 1685)

Painter at the
former part of the Edo period. Patriarch of the Nakabashi Kano school.
Born in Kyoto. Younger brother of Tanyu and Naonobu. Studied
painting under Koi Kano. He was conferred the "Hogen" rank. Good
at painting flowers and birds, landscapes, figures, Buddhistic
arts and also good at appraising.

Born in Edo. His
real first name is Takeyasu. Served the Tokugawa government.
At first, he learned painting technique of the Kano school from
Enjyo Takada.
Then, learned the other techniques of Japanese, Chinese and
Western idioms.
He studied ancient practices in Japan, and was good at painting
historical scenes. Patriarch of the Yosai school.

Ogura Yuki

1895-2000

Flower Painter

Ogura Yuki, born in Otsu city, Shiga Prefecture, had communed
with painting ever since she was two years old, and her painting
was rated as excellent at Otsu High School.
However, after she graduated from Nara Girls High School, she
didn't prepare the way for a painter, became a teacher. When she
visited Yasuda Yukihiko in 1920, she looked up to him as a
teacher that lasts a lifetime, and she was with the aim of
becoming a painter in addition to performing her regular duties
as a teacher.

In 1926 she was accepted to the 13th Inten exhibition, and was
appointed to the Dojin of the Japan Art Institute for the first
time as a woman in 1932, her paintings were experiencing rapid
evolution. She was awarded the Uemura Shoen Prize in 1954 and
the Japan Art Academy Prize in 1987, and was given the Order of
Culture in 1880.

Ogura Yuki's art world, which was derived from unconventional
means and bold simplification, is in spite of a strong and plain
expression, the warmth or life, even a spirit of the motif felt
good. It results from the effort that she performed ascetic zen
exercises.
1895 Ogura Yuki was born in Otsu city, Shiga Prefecture.
1917 graduated from Nara Girls High School.
1920 studied under Yasuda Yukihiko.
1926 Her artworks are selected for the 13th "Inten" Exhibition.
1932 was appointed to the first female member of the Japan Fine
Arts Academy.
1938 married a Zen priest Ogura Tetsuju.
1970 exhibited "Shimai (sisters)" at the 55th "Inten"
exhibition.
1973 was given the Orders of the Sacred Treasure.
1976 was appointed to a member of the Japan Art Academy.
1978 was selected to the person of Cultural Merits.
1980 was given the Order of Culture.
1990 took office as a chief director of The Japan Art Institute.
1996 took office as a honorary chief director of The Japan Art
Institute.
2000 On July 23, she passed away at 105 years old.

Yukihiko Yasuda
(1884 - 1978)

Born in Tokyo.
His given name is Shinzaburo. Studied painting from Tomoto Kobori
and Tenshin Okakura. Participated in the restoration of the
Japan Art Institute. Good at painting historical subjects with
elegant and sophisticated techniques.

Yoshimura Ranshu
(1739-1817)

Yoshimura Ranshu studied under his
father, Yoshimura Ranryo, Ishida Yuutei, and Maruyama Okyo.
Later on he became the appointed painter for the Nishi Hongwanji
temple. He was known to have painted kacho-ga (bird and flower)
themes and human subjects often. He died on November 27, 1817 at
the age of 78

Japanese painter and calligrapher. With Gion Nankai and Sakaki
Hyakusen, he was one of the pioneers of Japanese literati
painting

U

Usen Ogawa
(1868 - 1938)

Born in Tokyo.
His given name is Mokichi. Studied Western-style painting from Kinkichiro
Honda. Became Manga artist and illustrator. Started drawing
Japanese paintings at Tatsuko Kawabata's suggestion. Member
Japan Fine Art Academy from 1917.

Zhao ShaoAng 1905 - 1998

Zhao ShaoAng ( 1905 - 1998 ) Zhao ShaoAng studied
painting at the Gao Qifeng Private College of Art. He taught at
the Foshan College of Fine Arts in 1927. In 1930, he founded the
Lingnan Art Studio in Guangzhou. In 1937, he served as the head
of the Department of Chinese Painting at the Guangzhou Municipal
College of Fine Arts. In 1948, he was appointed a professor at
the Department of Fine Arts, Guangzhou University. Later in the
year, Zhao moved and settled in Hong Kong. There he founded the
"Lingnan Art Studio" to teach Chinese paintings. He was inspired
by Gao Qifeng in his early years. He excels in painting
landscape, animal, flower, insect and fish, and is particularly
noted for painting cicada. Zhao is a representative painter of
the Lingnan School

Xu Bei Hong (July 19, 1895 - Sept 26,
1953)

Xu Bei Hong is considered a
modern master in China. His merging of Western techniques with
classic Chinese approaches was unmatched. His paintings of
horsesand birds are particularly
stunning.

Unrei, Akamatsu
雲嶺 赤松
(1892 - 1958)

He studied painting with Unsen Koyama and Tikugai Fujii and
later with the famous nanga painter Himejima Chikugai
(1840-1928).
At a relatively young age he already proved a true master of
nanga, surpassing the talents of his teachers and finding a
new, personal way of looking at nanga. His paintings were
often exhibited with the Bunten, Teiten and Nitten and he was a
member of the Nihon Nanga-in.
He died in 1958 at the age of 65.

He was
born in Shiga Pref. in 1865. His real name be Yoshiharu. He made the
mentor to Chikudou Kishi, Keinen Imao, Chokujyou Fukada.

Tokujirou Tsutsumi (20th century)

His,
in another name it is Syunpo. He made the mentor to Yukihiko Yasuda. He
lived in Tokyo.

Toshiyuki Kasai (1917-?)

The Japanese artist. He was
born in Gifu Pref. in 1917. His, in another name it is Wakou. He made
the mentor to Eizou Katou. He wins a prize with many exhibitions.

Yoshinobu Kano (?-1820)

His, in another name it is
Dourin. Also his nick name be Kyounosuke. He be the child of Doutei
Kano. He succeeds the site of grandfather Tohjyu Kano and become the
painter of the shogunate. He is the death on July 7, 1820.

Koujyou Asami (1890-1974)

His nick name be Torajirou. He was born
in Hyogo Pref. in May of Meiji 23. He learned the picture from Suisyou
Nishiyama. At the later time he did 住
in Aichi Pref. Nagoya.

Yoshinobu
Tosyun Kano (1747-1797)

Kano painter.
Son of Gensen Kano; became fourth-generation head of the Kano branch at
Surugadai in Edo. Pupil of Tosyu Kano. It is recorded that he painted a
screen as a gift to the king of Korea from the Bakufu; also known to
have worked on the ceilings and walls of the Rinno-ji in Edo. Given
title of Hogen. Worked in the styles of Tanyu
and Sessyu.

Housyu Yamada
(18-19th century)

His real name
be Kijyou. He was appointed to Houkyou. He be the person of around the
Edo middle-latter period.

Unrei Akamatsu
(1892-1958)

He was born in
Osaka in 1892. He made the mentor to Unsen Koyama, Chikugai Himejima. As
for he the landscape and flowers and birds picture are good. He is the
death, 65 years old in 1958.

Kyouu Gotou
(1907-1973)

He was born in
Nagano Pref. in 1907. He learned the picture from Kansetsu Hashimoto. He
is the death, age at death 67 years old in 1973.

Setsui
Kawakami (1901-1976)

He was born in
Ehime Pref. in 1901. He be the Kyoto painting specialized school
graduation. He made the mentor to Tatehiko Kan, Suisyou Nishiyama. At
the later time he lived in Kyoto. He is the death, 75 years old in 1976.

Syuka
Takahashi (1878-1952)

He was born in
Okayama Pref. in 1878. His real name be Toshita. He made the mentor to
Kinryou Ishii, Syunkyo Yamamoto. He is the death, 75 years old in 1952.

Baisen Hirai
(1889-1969)

He was born in
Kyoto on January 5, in Meiji 22. The real name be Syuhzoh. In Meiji 39
he graduates from the Kyoto municipal arts and crafts school painting
family and made the mentor to Seihoh Takeuchi. Thereafter he does
winning a prize a lot with an/the exhibition and took an active part as
the star artist. After the war, he did only picture made life. He dies
in Kyoto on August 30, in Showa 44. Age at death 80 years old.

Baisen Hirai
(1889-1969)

He was born in
Kyoto on January 5, in Meiji 22. The real name be Syuhzoh. In Meiji 39
he graduates from the Kyoto municipal arts and crafts school painting
family and made the mentor to Seihoh Takeuchi. Thereafter he does
winning a prize a lot with an/the exhibition and took an active part as
the star artist. After the war, he did only picture made life. He dies
in Kyoto on August 30, in Showa 44. Age at death 80 years old.

Ganryou
(1798-1852)

His last name
be Kishi after Saeki. His pen name be Gaunrou. He lived in Kyoto with
the foster child of ancestor Ganku of the Kishi sect. His picture
defends the family custom and be wonderful. He is the death, age at
death 55 years old on March 19, 1852.

Tousen Kabata
(20th century)

He be the
Kyoto painting specialized school graduation. He made the mentor to
Syunkyo Yamamoto. He lived in Kyoto.

Oushin
Maruyama (1791-1840)

He was born in
Kyoto as the child of second son Oujyu Kinoshita of Oukyo Maruyama in
1791. In the after he becomes the foster child of oldest son Ouzui
Maruyama. He is the death, age at death 52 years old in 1840.

Kasyu Iguchi
(1880-1930)

He was born in
Osaka in 1880. His real name be Jinzaburou. He learned the picture from
Seihou Takeuchi. At the later time he lived in Kyoto. He is the death,
age at death 50 years old in 1930.

Eigaku Kano
(1790-1867)

Kano painter.
Born in Kyoto. Studied the Kano style under his father-in-law, Eishun
Kano, by whom he was adopted. As a member of the Kyo Kano school, became
a leading Kano painter in the late Edo period and worked in the Kyoto
Imperial Palace. His painting is rich and decorative, retaining also
some elements of Shijyo technique and style.

Chikuha Otake
(1878-1936)

The Japanese
artist. He is born in Niigata-shi. He is all the artists with the
brother 3 people. Etsudoh Otake is his older brother and Kokkan Otake is
his younger brother. Beginning he learned the art of drawing from Unseki
Sasada and went to Tokyo the after and made Gyokusyoh Kawabata the
mentor. After that he took an active part with many exhibitions.

Eisyou Kano
(1811-1886)

He was born in
Kyoto in 1811. His last name be Horiuchi. His, in another name it is
Sanan. He be the clansman of Kyoto Tanba Sasayama. He learned the
picture from Eigaku kanou of the Kyou Kano sect. At the later time he
becomes 11 reigns of Kyou Kano sects. He is the death, age at death 76
years old in 1886.

Koui Kano
(1569-1636)

Kano painter.
Details of his life unclear. Known to have served the Tokugawa clan in
Kii Province and to have brought up Takanobus
Kano three sons; Tanyu,
Naonobu, and Yasunobu. Pupil of Mitsunobu Kano; perhaps, later in his
career, influenced by the works of Sesshu. With Sanraku, the most
important Kano artist of the early Edo period, introducing a new and
lighter style of Kano painting. Known as a fine painter of Kachoga, few
of which remain. Has been much overshadowed by Tanyu.

Tsunenobu Kano
(1636-1713)

Kano painter.
Born in Kyoto. Son of Naonobu Kano. At age 15, on his father's death,
became pupil of his uncle Tan'yu. Succeeded to the Kano estate at
Kobikicho; in attendance at the Sentoh Palace as court painter. Also a
connoisseur of old paintings. In 1704 given rank of Hogen; later
received that of Hoin. In 1709, at order of the emperor, painted the
Kensho Shoji (portraits of Confucius, Mencius, and other sages) in the
Shishinden of the Imperial Palace. A leading artist of the Kano school,
he brought the Kobikicho branch to a position of prominence. His
paintings are eminently pleasant, charming in color, delicate in tone.
Excelled also in literature.

Jyoseki Kitou
(1891-1978)

He was born in
Aichi Pref. in 1891. He be the second son of artist Doukyou Kitou. His
real name be Yonekichi. He learned the picture from Gyokudou Kawai. He
is the death, 88 years old in 1978.

Eitatsu Koyama
(1880-1945)

He was born in
Tokyo Met. on March 18, in Meiji 13. His real name be Masaharu. He
learns the picture in Western style from beginning Kinkichirou Honda and
after he is to Eigyou Suzuki when he is 14 year-old and learn the
Japanese painting. Also he made the mentor to famous artist Tomoto
Kobori when he is 18 year-old. After that he wins a prize with many
exhibitions. He was the authority of a history picture, animal picture,
Musha picture. He is the death on August 18, in Showa 20. Age at death
65 years old.

Jyoseki Kitou
(1891-1978)

He was born in
Aichi Pref. in 1891. He be the second son of artist Doukyou Kitou. His
real name be Yonekichi. He learned the picture from Gyokudou Kawai. He
is the death, 88 years old in 1978.

Chokujyou
Fukada (1861-1947)

He was born in
first year July 14, Shiga Pref. for the Bunkyu year. His real name be
Masataka. His, in another name it is Syuhgetsu. He learns mentor that,
Shijyou sect from Sobun Morikawa. He wins a prize with many exhibitions.
After that he transmigrates in Osaka and do the guidance of the reverse.
He is the death in Showa 22. Age at death 86 years old.

Sessou Nakane
(1849-1924)

He
was born in Aichi Pref. in 1849. His real name be Sada. His nickname be
Jintarou. He made the mentor to Baisou Yamamoto, Aizan Taniguchi. He be
1924 death, 76 years old.

Hanzan Niki
(1901-?)

He was born in
Osaka in 1901. He made the mentor from Kyouson Yano and learned the
picture.

Seisen'in Kano
(1796-1846)

Kano painter.
Represented the eighth generation of the KOBIKICHO branch of the Kano
school. Son and pupil of Kano Isen'in, became in his turn GOYO ESHI and
did much work at Edo Castle.Also made copies of earlier paintings. In
1819, given title of HOGEN, in 1834 that of HOIN, at which time he began
to use the GO of Seisen'in. Author of a well-known diary, Kaishinsai
Nenki, which is essential for the study of the Kano school. Toward the
end of his life, took orders. Produced exaggerated Chinese-type rococo
landscapes.

Tsunenobu Kano
(1636-1713)

Kano painter.
Born in Kyoto. Son of Naonobu Kano. At age 15, on his father's death,
became pupil of his uncle Tan'yu. Succeeded to the Kano estate at
Kobikicho; in attendance at the Sentoh Palace as court painter. Also a
connoisseur of old paintings. In 1704 given rank of Hogen; later
received that of Hoin. In 1709, at order of the emperor, painted the
Kensho Shoji (portraits of Confucius, Mencius, and other sages) in the
Shishinden of the Imperial Palace. A leading artist of the Kano school,
he brought the Kobikicho branch to a position of prominence. His
paintings are eminently pleasant, charming in color, delicate in tone.
Excelled also in literature.

Touei Sekkou
Hasegawa (19th century)

He be the Edo
graduate. He be the child of artist Setsurei Hasegawa. As for he all the
landscapes, portraits, flowers and birds pictures are precise.

Goshun
Matsumura (1752-1811)

Shijo painter.
Born in Owari; lived in Settsu and Kyoto. Studied first with Suigetsu
Onishi; later, a pupil of Buson Yosa, with whom he also studied Haiku,
using at that time the Go Gekkei. After 1781, adopted Go Goshun.
Following Buson's death, strongly influenced by Ohkyo. Eventually
created his own style, founding the Shijo school (named after the in
which he lived), which tried to combine the realism of Ohkyo with the
idealism of the Nanga school. Skilled in Haiku and calligraphy. Among
his students were Keibun Matsumura and Toyohiko Okamoto. One of the
greatest of the later Edo period painters; his school had an enormous
influence on 19th century Japanese art. His pleasant work more intimate
and spontaneous, less monumental than that of Ohkyo; used larger
brushes, applying them more obliquely than Ohkyo.

Hukunen
Konishi (1887-1959)

He was born in
Fukui Pref. Takefu-shi on February 15, in Meiji 20. His real name be
Yuhnosuke. He came in Kyoto in Meiji 34 and entered a private school as
the apprentice of Syounen Suzuki. He received the name of Hukunen from
the mentor. He painted an elegant picture as the teaching of the mentor.
He is the death, age at death 73 years old on January 13, in Showa 34.

Ryuun Kusano
(1863-?)

His real name
be Jyutarou. He was born in Kyoto in 1863. He learned the picture from
Chikudou Kishi.

Chousei Nohara
(1897-1971)

He was born in
Gifu Pref. in Meiji 30. He made the mentor to artist Suisyou Nishiyama
and belonged to picture meeting Seikousya. He be the first acceptance
with the exhibition in Showa 9. Thereafter he wins a prize many prizes.
He is the death, age at death 74 years old in Showa 46.

Gyokusyou
Kawabata (1842-1913)

He was born in
Kyoto in 1842. His real name be Takinosuke. His, in another name it is
Keitei. He learned the picture from Raisyou Nakajima, Kaisen Oda. At the
later time he moves to Tokyo and was nominated to the professor at the
time of the Tokyo art school foundation. Also he builds the Kawabata
picture school and brought up the junior. He is the death, age at death
72 years old in Taisho 2.

Ousei Murata
(1816-1877)

He was born in
Kyoto in 1816. He made the mentor to Oushin Maruyama. In the after he
transmigrated to Fukuoka Pref. Kokura in 1845

Sessen
Morihide Awata (18te century)

He served the
Chikuzen feudal lord. He made the mentor to Tanshin Kano. He took an
active part around the 18th century.

Bunrin
Shiokawa (1808-1877)

Shijyo sect
painter. Lived in Kyoto. Pupil of Toyohiko Okamoto; also learned the
Nanga manner and something of Western painting. Specialized in
landscapes. His painting, somewhat heavier and more Western than that of
his contemporaries, set the style for painting in Kyoto in the early
Meiji era.

Sosen Kano
(17-18th century)

The Kano sect
artist. He was born in Edo. He 2 reigns of the KandaMatsunaga-cho Kano
school.

Chokusen
20th cent

Shosen'in Kano
(1823-1880)

Kano painter. Pupil of
his father Seisen'in Kano Osanobu; succeeded him as ninth generation of
the Kobikicho branch of the Kano school. On receiving title of Hoin,
took name of Shosen'in. Teacher of Gaho Hashimoto and Hohgai Kano.
Produced a large number of eccentric paintings as well as some
delicately colored rather tight landscapes; his style close to that of
his father.

Yusen Kano
(18-19th century)

carp painter

He is the
artist of a Kano sect.

Ryouko
Kawanishi (1938-)

She was born
in Nagano Pref. in 1938. She got accepted with many exhibitions. After
that he lives in Kanagawa Pref.

Yamamoto Baiitsu

1783~1856

He was born in Nagoya, one
of the representative of Southern School artists in late Edo era, drew
realistically.

Okada Kanrin

1775~1849

He was born in Edo
(Tokyo).one of the best disciples of Tani Buncho (Bunchou).

Tani Bunchō (谷文晁)
(October 15, 1763 - January 6, 1840) was a Japanese literati (bunjin)
painter and poet. He was the son of the poet Tani Rokkoku (1729-1809).
As his family were retainers of the Tayasu Family and descendents of the
eighth Tokugawa shogun, Bunchō
inherited samurai status and received a stipend to meet the
responsibilities this entailed. In his youth he began studying the
painting techniques of the Kano School under Kato Bunrei (1706-82).
After Bunrei's death, Bunchō worked with masters of other schools, such
as the literati painter Kangan Kitayama (1767-1801), and developed a
wide stylistic range that included many Chinese, Japanese and European
idioms. He's best known for his crisp landscapes in the literati style
(Nanga or Bunjinga). Like most bunjinga painters of his time, Bunchō
focused largely on Chinese-inspired landscapes. Since travel outside
Japan was forbidden under the Tokugawa shogunate, Bunchō was unable to
study in China; he spent many years in Nagasaki, therefore, studying
Chinese art and Western art (洋画,
Yōga)
with the traders there. Watanabe Kazan and Takaku Aigai were among his
disciples.

Nakabayashi
Chikuto(Chikutou)

1776~1853

Born in Nagoya, Nakabayashi
was a Nanga painter of the late Edo period who faithfully followed the
traditional style of Chinese literati painting.

Hoyama Yuinen(Hananoya)

1823~1894

He was a pupil of Watanabe
Kiyosh, Ukita Ikkei. Also he studied under Tosa Mitsunobu ( Tosa school
) in Kyoto.

Watanabe Kiyoshi

1778~1861

He was born in Nagoya, was a
pupil of Yoshikawa Eishin, Yoshinobu (Kano school). After that, he
studied Yamatoe under Tanaka Totsugen, Tosa Mitsusada.

Nakabayashi
Chikuto(Chikutou)

1776~1853

He was born in Nagoya,
Nakabayashi was a Nanga painter of the late Edo period who faithfully
followed the traditional style of Chinese literati painting.

Doi Goga(Gouga)

1812~1880

Confucianism, had often been
called the "Mad Monk" because of his unprecedented words and deeds.

akahashi Zaikyo(zaikyou)

It has not known when he was
born. It seems that the floruit was in 1850's.

He was son of Takahashi
Zaikou who was also a painter of Hara school that derived from the
movement of art in kyoto at that time.

Nakabayashi Chikkei

1816~1867

He was a son of Nakabayashi
Chikutou.

Kouno Tettou

1825~1867

He was known as a child
prodigy made a hundred poems in a night at the age of 15. He studied
from Yanagawa Seigan. a Confucist,doctor.

Nakabayashi
Chikuto(Chikutou)

1776~1853

He was Born in Nagoya, a
Nanga painter of the late Edo period who faithfully followed the
traditional style of Chinese literati painting.

Condition index

Shikunshi means the four
particular flowers, bamboo,Japanese apricot, chrysanthemum and orchid.
Also each flower has meaning of its season like orchid in spring,bamboo
in summer, chrysanthemum in autumn and Japanese apricot in winter. So we
enjoy it through all seasons.

The title -Shikunshi- is a
typical one expressed the ideal of the spirit of Nanga, but rare one
which has all of four kinds of them in a set.

This work was depicted at
his age 53 in 1828.

It has a good mount of Nanga
style.

Nakabayashi
Chikuto(Chikutou)

1776~1853

He was Born in Nagoya, a
Nanga painter of the late Edo period who faithfully followed the
traditional style of Chinese literati painting.

Nakabayashi
Chikuto(Chikutou)

1776~1853

Born in Nagoya, Nakabayashi
was a Nanga painter of the late Edo period who faithfully followed the
traditional style of Chinese literati painting.

Watanabe Kiyoshi

1778~1861

He studied from Yoshikawa
Hidenobu,Yoshinobu of Kano school at first. Then studied Yamatoe from
Tanaka Totsugen,Tosa Mitsusada.

Chigusa Arikoto

1797~1854

He was a poet of Nijou
school.

Sumi Raizan

1757~1821

He was one of the
representative of Southern School artists in early Owari Nanga. Niwa
Kagen was his teacher.

Ganku

1756~1839

He studied every style of
Jaoanese art and Chinese one. The patriarch of Kishi school.

Gessen

1741~1809

He had been a monk and
studied in Sesshu school.He became a chief monk of Sekishouji. He spent
money earned by drawing for poor relief.

Doi Goga(Gouga)

1812~1880

Confucianism, had often been
called the "Mad Monk" because of his unprecedented words and deeds.

Okamoto Sukehiko

1818~1884

He studied by his father,
who studied paintings of Shijo school by Matsumura Goshun, Keibun. He
became his another teacher Okamoto Kiyohiko's heir.

Kano-ha (the Kano school)
The Kano school is one of the most famous
schools of Japanese painting. It was founded by Kano Masanobu
(1434-1530), a contemporary of Sesshu and student of Shubun. Some
scholars write that though Masanobu mastered elements of Chinese
painting and of Shubun's style, he was overall mediocre and lacked the
originality and creativity of his teacher. Nevertheless, Masanobu became
an official painter in the Shogun's court, and it was this lofty
position which granted the Kano school influence and fame. The artists
who followed him improved upon his style and methods, and within a
generation the school flourished.
The school's works are the paragons of Momoyama period art, and while
most schools specialize in one style, medium, or form, the Kano school
excels at two. Kano painters often worked on a large scale, painting
nature scenes of birds, plants, water, or other animals on sliding doors
or screens, covering the background with gold leaf. Some of the most
famous examples of these can be found at the Nijo Castle in Kyoto.
The school is equally renowned, however, for its monochrome ink-on-silk
landscapes. Kano ink painters composed very flat pictures but they
balanced impeccably detailed realistic depictions of animals and other
subjects in the foreground with abstract, often entirely blank, clouds
and other background elements. The use of negative space to indicate
distance, and to imply mist, clouds, sky or sea is drawn from
traditional Chinese modes and is used beautifully by the Kano artists.
It is interesting, perhaps, to note the very bold brush strokes and thus
bold images that are obtained in what is often a very subtle and soft
medium. It is also interesting to note the contrast between these
expertly painted monochrome ink paintings and the almost gaudy but no
less beautiful gold-on-paper forms these artists created for walls and
screens.

Shijo-ha style Painting： Shijo-ha was the one of biggest clique of Japanese
paintings. At the end of Edo period, Shijo-ha got bigger clique in Kyoto
having Matsumura Goshun as a leader. An exponent of Shijo-ha, there are
Okamoto Toyohiko and Matsumura Keibun. Goshun was learning painting from
Yosa Buson at first, after a while he tried to learn from Maruyama Okyo.
Okyo denyed to have Goshun as his pupil but as his best friend. Which
made Goshun painting an original. Because Okamoto Toyohiko and Matsumura
Keibun lived around Shijo in Kyoto, the clique was started to called
Shijo-ha. Shiokawa Bunrin was a pupil of Okamoto Toyohiko and he was
very talented enough to succeed Shijo-ha. After the Meiji Restoration,
Bunrin took Western way of painting into Shijo-ha, which changed Shijo-ha
painting a lot and Kono Bairei succeeded that way from Bunrin. Kono
Bairei was an excellent pupil of Bunrin and he succeeded Shijo-ha.
Bairei was a good painter but it was not good enough to say talented but
Bairei was distinguished for education. He chosen his life to teach how
to paint to Shijo-ha students, than paint on his own. His way of
education was teach the basics at first and let the students do whatever
they want after learning the basics.
The painters known as of Shijo-ha include below.

Maruyama Goshun

Maruyama Ōkyo

Mori Sosen

Kikuchi Yōsai

Ohara Shoson (Koson)

Shibata Zeshin

Takeuchi Suou,

Uemura Shoen,

Nishiyama Suisho,

Nishimura Goun,

Tsuchida
Baisen, etc

Rear
of Fan painting

Yamato-e/senmenga/ fan 14th century

Yamato-e

Yamato-e (大和絵 [jamatoꜜe]) is a
style of Japanese painting inspired by Tang Dynasty paintings
and developed in the late Heian period. It is considered the
classical Japanese style.
From the Muromachi period (15th century), the term Yamato-e has
been used to distinguish work from contemporary Chinese style
paintings (kara-e), which were inspired by Song and Yuan Dynasty
Zen Buddhism paintings.
The Yamato-e often tell narrative themes with text along with
them, show the beauty of nature, e.g. famous places (meisho-e
名所絵), and the four seasons (shiki-e 四季絵).
The pictures are non-symbolic and have the objective of
depicting the beauty in nature.
The pictures are often on scrolls that can be hung on a wall
(掛け物, kakemono) or handscrolls (emakimono) that could be read
from right to left with the accompanied story or on a folding
screen (byoubu, 屏風) or panel (shouji, 障子).
Although they received their name from the Yamato period (大和),
Yamato-e pictures rather stand for a style and are not
restricted to a particular period.
Although the most famous artists painted in sumi-e style in the
Muromachi period, this was not characteristic of early pictures.
Yamato-e had a great influence on the Rimpa (琳派) and ukiyo-e
(浮世絵) styles, as well as the Nihonga (日本画).